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A TEXTBOOK 



ON 



SHOW-CARD WRITING 



International Correspondence Schools 

SCRANTON. PA. 



SHOW-CARD WRITING 

SHOW-CARD DESIGN AND ORNAMENT 

LETTER FORMATION 



SCRANTON 
INTERNATIONAL TEXTBOOK COMPANY 

A- 3 






THE LIBRARY OF 
CONGRESS, 

Two Copies Receiyeo 

JUN 3 1903 

U Copyright hntry 

huw Z^ h 06 

•JLASS (Xy XXo. No. 
COPY B. 






Copyrijrlit, 1003, by Intkrnational Tkxtbook Company. 



Entered at Stationers' Hall, London. 



Show-Card Writing: Copyright, 190S, by Intkrnationai, Texthook Comp.anv. 
Kntered at Stationers' Hall, London. 

Show-Card Design and Ornament: Copyright, 1903, by Lntkrnationai, Tkxthook 
Company. Entered at Stationers' Hall, London. 

Letter Formation: Copyright. 1903, by Intkrnwtionai- Textbook Comp.anv. 
Entered at Stationers' Hall, London. 



All rights reserved. 



\ 



Printed in the United State.s. 



A 



M 



PREFACE 



The present volume will undoubtedly fill a long-felt want 
for a full and exhaustive treatment of the subject of Show- 
Card Writing. The text is clear and comprehensive and the 
subject is treated in such a manner that it can not only be 
readily understood by beginners but can also be consulted 
as a work of reference by experts. We are not aware of any 
previous attempt to prepare a work of this kind. 

In addition to the text matter proper, there are included 
in the Course fifteen Drawing Plates, each of which the 
student is expected to send to the Schools for corrections, 
suggestions, and criticisms. To avoid the use of a portfolio 
two sets of plates have been made — one to be used for 
printing the plates sent to students as they progress in their 
studies and the other for printing the reduced copies in this 
volume. It will be noticed that these plates have been 
inserted in their proper places on guards, thus permitting 
them to be opened flat without extending beyond the edges 
of the volume. 

To those who specialize in original designing, the present 
work will be found extremely fertile in suggestion; to all 
classes of card writers, it will prove valuable as a convenient 
work of ready reference. The index is full and simply 
arranged, enabling any one to find any style or form of 
letter with the least possible delay or difficulty. The work 
has been printed throughout on carefully selected, extra 
heavy, coated book paper; the illustrations accompanying 
the text are profuse, clear in detail, and have been prepared 
and executed at great expense; the colored plates are highly 
artistic and very finely finished products of the printers' skill. 



iv PREFACE 

The method of numbering the pages and articles is such 
that each subject is complete in itself; hence, in order to 
make the index intelligible it was necessary to give a 
number to each subject or part. This number is placed at 
the top of each page, on the headline, opposite the page 
number; and to distinguish it from the page number, it is 
preceded by a section mark (S). Consequently, a reference 
such as §3, page 11, will be readily found by looking along 
the inside edges of the headlines until § 3 is found, and then 
through ^3 until page 11 is found. 

International Correspondence Schools. 



CONTENTS 



Show-Card Writing Se> 

Purpose of the Course 

How to Become an Expert Card Writer 

Description of the Course 

Colors 

Handling- of Colors 

Water Colors 

List of Oil Colors 

Brushes 

Materials 

Elements of Lettering 

Component Parts of a Letter 

Spacing of Letters 

Shading 

Letter-Face Lighting and Shading 

Classification of Letters 

Ornamental Letters 

Grotesque Letters 

Illuminated Capitals 

Treatment of Letters 

Brush Work 

Exercise I 

Exercise II 

Exercise III 

Exercise IV 

Plate, Title: Elementary Lines .... 
Plate, Title: Elementar\- Curves .... 

Speed in Lettering 

Methods and Application ...... 

Dry Colors 

V 



Page 

1 

2 

3 

5 

8 
12 
18 
14 
17 
19 
19 
20 
23 
2fi 
29 
29 
31 
32 
36 
40 
40 
41 
42 
43 
46 
47 
48 
49 
49 



VI 



CONTENTS 



Show-Card Writing— ( Continued) 
Illumination of vShow-Cards 

Letters 

Modifications of Letters . 

Relief Letters 

Beveling 

Mounting 

Manifolding- 

Store and Window Signs . . 

Outside Signs 

Card Hangers 

Punctuation 

Rules for Punctuation 



Sec 



vShow-Card Design and Ornament 

Elements of Design 2 

Simple Figures 2 

The Ellipse 2 

The Panel .2 

Ribbons 2 

Practical Designing 2 

Inscription Designing 2 

Location of Inscription 2 

Supplementary Alphabets 2 

Indexes 2 

The Eye 2 

Applied Design 3 

Forms Used in Card Writing 3 

Composition of a Design 8 

Natural Forms Used 3 

Ornament 3 

\"arious Styles and Application .... 3 

Various Designs 3 

Price Tickets 3 

Inscriptions for Show-Cards 3 

Letter Formation 

Freehand Alphabets , . 4 

Plate, Title: Rrush-Stroke Letters ... 4 



Page 
52 
54 

57 
62 
63 

65 
66 
71 
73 

77 
77 
78 

2 

2 

4 

6 

10 

12 

12 

16 

19 

23 

24 

2 

2 

9 

9 

12 

12 

14 

21 

23 

1 
1 



CONTENTS vii 

Letter Formation— (G>////;/ //<;-(/) Secfhvi Page 

Plate, Title: Condensed Egyptian ... 4 3 

Capitals 4 4 

Lower Case and Numerals 4 6 

Plate, Title: Heavj^ Egyptian 4 8 

Plate, Title: Eccentric Egyptian .... 4 10 

Plate, Title: French Roman 4 12 

Capitals 4 12 

Lower Case 4 14 

Plate, Title: Roman 4 15 

Capitals 4 16 

Lower Case and Numerals 4 17 

Plate, Title: Transparent Color Work . . 4 18 

Plate, Title: Eccentric Roman 4 21 

Plate, Title: Ogee-Cm-ve Stroke .... 4 22 

Capitals 4 23 

Lower Case 4 24 

Plate, Title: Square English 4 25 

Capitals 4 25 

Lower Case 4 27 

Plate, Title: Half Script 4 28 

Capitals 4 29 

Lower Case 4 29 

Plate, Title: Script 4 31 

Capitals 4 31 

Lower Case 4 32 

Plate, Title: Opaque Water-Color Work . 4 32 



SHOW-CARD WRITING 



INTRODUCTION 

1. Purpose of This Course. —Attractive show-card 
writing ranks among the most important advertising 
methods used by the progressive and wide-awake merchant. 
Time was when the storekeeper was satisfied to use his store 
windows for the mere purpose of Hghting his store. If an 
attempt were made to display goods, the multiplicity of 
window panes, the height of the window floor, together with 
the congested window space (having but a front exposure), 
offered little or no advantages in using it as a medium for 
attracting the attention of the passers-by. 

Conditions, however, have changed with the times, until 
the show window has become the most imposing feature of 
the store. Competition has brought into play every known 
means for attracting attention to the character of the goods 
to be found within. In this connection it is obvious that such 
signs be used as will call special attention to the quality and 
price of goods displayed; also, that these be prepared on 
inexpensive material in order that periodical announce- 
ments may be made to the public that will interest and secure 
trade. To this end, nothing is more suitable or productive 
of better results than advertising show-cards. These may 
be executed by a novice, and, in a way, serve the purpose 
for which they are intended. But to make the window 
lettering and show-card writing an artistic as well as a remu- 
nerative feature of the window display, is the desire of every 
merchant. He may secure a stock of goods of sufficient 
merit in quality, and offer them at prices so low as should 

For notice of copyright, see page immediately following: the title page 



2 SHOW-CARD WRITING §1 

crowd his store with customers, and yet these may become 
shop worn and out of fashion were he to neglect to use the 
methods employed by his progressive competitors in calling 
attention to them through attractive display cards and catchy 
announcements. 

Therefore, the show-card writer is indispensable to the 
successful up-to-date merchant, and, as an employe, he is 
valued in proportion to his ability to prepare work that will 
arrest the eye of every passer-by. It is equally neces- 
sary for those engaged in this profession to be familiar with 
every form of letter that will most effectively serve their 
purpose, and to make use of every novelty in designing, 
arrangement, and artistic embellishment known to modern 
practice. 

It is the purpose of this Course, therefore, so to prepare 
those having the show window in charge, or those desiring 
to undertake this class of work, that they may thoroughly 
master every branch of the subject, by giving them a 
practical knowledge of show-card and inscription design- 
ing in every detail, and of every form of alphabet best 
adapted for use in show-cards, window signs, interior ban- 
ners, and all other work coming within the province of the 
card writer. 

HOW TO BECOME AX EXPERT CARD WRITER 
2. Chief Qualifications. — Success cannot be assured 
any student enrolling in this Cotirse unless he possesses the 
qualifications necessary. We are therefore compelled to call 
attention to some of the natural tendencies to discourage- 
ment that exist, and that serve to draw a student from any 
worthy purpose. j\luch depends on the student, if he would 
realize the fullest benefit to be derived from his course of 
instruction. Too much time cannot be devoted to practice. 
It is only by practice that the student can hope to succeed. 
The process by which the hand becomes skilled in perform- 
ing work, and the eye trained to equalize space, measure 
distances, and proportion objects is necessarily slow, and to 
those who lack application, it is quite tedious. 



§1 SHOW-CARD WRITING 3 

3. Reward of Application. — Students are of two 
general classes, namely: Those who desire only a super- 
ficial knowledge of the subject before them, and to whom any 
reasonable amount of study or practice is burdensome; and 
those who desire a complete knowledge of everything that 
directly or indirectly pertains to the subject, and who are 
willing, through practice and perseverance, to labor untir- 
ingly to this end. Those composing the former class are 
easily discouraged, their chief aim being to acquire speed 
in their work, not taking sulificient time to gain a perfect 
knowledge of every subject before them; while those in the 
latter class, by thoroughly mastering the work in every 
detail, soon acquire speed as a result of a perfect knowledge 
of the formation of letters, designing, method of application, 
etc. It is obvious, therefore, that one class should win the 
final reward and receive as a result the largest salaries and 
best positions, while the other class must be satisfied to take 
second or third places in their profession. 



THE COURSE 

4. Ai-i'aiig:enieiit and Classification. —The Course is 
arranged progressively, beginning with instruction in such 
subjects as colors, brushes, appliances, materials, etc., a 
knowledge of which is necessary before beginning drawing 
or freehand lettering. It is important that the student 
should first be perfectly familiar with the foregoing, for it is 
with these he is to execute his work. The subject of design- 
ing, or the manner in which the work should be executed, 
is introduced at that point in the instruction when the stu- 
dent has progressed sufihciently to apply this knowledge to 
practical use. 

5. Materials Necessary. —We recommend that all 
practice \york be done on Manila pattern paper, on account 
of its cheapness. When working in the evening, use a good, 
steady light; an incandescent gaslight is best. Arrange the 
table so that the light is thrown on the work from above and 



4 SHOW-CARD WRITING §1 

to the left of the drawing tabic. A shade for the eyes should 
be worn to protect them from the light, and every precaution 
taken in caring for them w^hen working by any kind of 
artificial light. A well-made, firm table should be used, and 
this should be slightly inclined (not to exceed 10°). The 
ordinary table known among furniture dealers as the kitchen 
table, costing about $1.50, is an excellent table for a student's 
use. The front legs of this table may be cut off sufficiently 
to give the proper angle. The 24'' X 30'' drafting board is 
furnished in the special outfit, and will be found indispen- 
sable even though the table be used. The complete outfit 
consists of the following: 

1 2-ounce bottle show-card writer's white. 
1 2-ouHce bottle show-card writer's black. 
1 f-ouiice bottle. waterproof India ink. 

1 set of lettering brushes: 5 red sable (riggers) Nos. 3, 5, 7, 9, and 11; 
2 Nos. 1 and 3 (Columbia) red sables; 1 wash brush No. 3, double end, 
camel's hair; 3 Nos. 4, 6, and S square shaders, camel's hair; 3 Nos. 

'4, 6, and 8 letterers, camel's hair. 

\ dozen sheets of white drawing paper, size 15" X 2U". 

2 sheets of black drawing paper. 

1 show-card writer's T square, 28" blade. 

2 ounces of each of the following dry colors: blue, green, orange, 
lemon, and red. 

1 chamois skin. 

1 drafting board, 24" X 30". 

\ dozen thumbtacks. 

1 combination compass. 

1 protractor. 

1 sponge eraser. 

1 lead pencil. 

1 pencil eraser. 

12 pans of water color as follows: new green, light red, burnt 
sienna, vermilion, crim.son lake, gamboge, mauve purple, Prussian 
blue, sepia, yellow ocher, orange chrome yellow, charcoal gray. 

3 water-color dishes: 2", 2^", and 3". 



§1 SHOW-CARD WRITING 



COLORS 

CLASSIFICATION AND USE 

6. Classification of Colors. —There are five general 
classes into which all colors are divided, as follows: Primary, 
secondary, tertiary, semifieutral , and neutral. Beginning with 
the primary, colors fall to a lower order, depending on how 
closely they are related to this chief or highest order. Com- 
binations of colors of this order produce what are known as 
secondary, and so on until two colors are equally divided in 
strength, when they become neutral. 

7. Primary Colors.— The primary colors are red, 
ycUozv, and blue. By a combination of these three colors the 
modern color artist, such as the art printer and lithographer, 
can produce a piece of work in strong and distinct colors, 
shades, and tints that will show wonderful ingenuity. The 
combinations of the colors with white and black are almost 
unlimited in variety. By referring to the color chart, Fig. 2, 
we learn that to combine any two of the primary colors will 
give us another distinct color that belongs to a separate 
class, called secondary colors. 

8. Secondary Colors.— The three secondary colors 

are^;r^7/, orange, a.n6. purple. Yellow and blue mixed together 
in proper quantities will produce green; yellow and red 
combined will produce orange; while red and blue will 
produce purple. 

It should not be understood that equal quantities of these 
colors will give the desired shade, nor that any shade of 
red, blue, or yellow should be classed as primary. In the 
ideal spectrum, Fig. 1, the colors marked 1, S, and 5 are 
normal, primary colors. 

The strength of manufactured colors difiEers, some being 
so intense as to require but the smallest amount to counter- 
balance, or offset, the color used in connection with it. A 
few of the weak colors will serve as an example, as new 
blue, Naples yellow, emerald green, etc., while some of the 



6 SHOW-CARD WRITING 4^1 

colors of o^reatest strength are Prussian blue, Indian red, 
oranjje chrome, etc. When using these latter colors the 
greatest care must be observed or the strong color will be 
found to predominate in the mixture. 

9. Tei'tiary Coloi-s. —Combining one secondary color 
with another secondary will produce a tertiary color; com- 
bining a secondary color with a primary will also produce a 
tertiary. The principal tertiary colors are citrine, olive, 
and russet. 

10. Seinineutral Colors. —Although inferior in point 
of color order to the third class, the colors that compose the 
seinineutral class are most important for the place they 
hold with respect to their practical use. Any color that is 
combined with black is reduced in the scale of color com- 
pounds to an entirely new and distinct series, and to this 
class belong a great number of our permanent pigments, 
such as raw umber, raw sienna, sepia, asphalt, etc. The 
semineutral colors are brozvn, maroon, and.^r^j'. 

11. Nentral Colors.— The term nentral as applied to 
colors, means that the color is evenly divided in intensity or 
prominence between two colors in their proper order, as 
shown in the ideal spectrum. Fig. 1. By referring to this it 
will be readily seen which colors are neutral. The colors 
marked R O, red orange; Y O, yellow orange; Y G, yellow 
green; B G, blue green; B V, blue violet; and R V, red violet, 
comprise the neutral colors. 

12. White and Black.- The trade term color is 
applied to every mixture that is used as paint, but technic- 
ally understood, white and black are not colors. White is a 
combination of all of the prismatic colors, while black is in 
reality the absence of color. Black and white, as pigments, 
enter into the preparation of colors and shades and form a 
most important ingredient. By combining white with a 
strong primary, secondary, or other color, it is possible to 
graduate these colors from their normal strength to a point 
where the original color has passed the limits of a shade 



§1 SHOW-CARD WRITING 7 

and become indistinct, when it is termed a tint. By the 
use of black in compounding colors, some may be intensi- 
fied, while others acquire an entirely different hue. The 
union of white and black produces slate color, lead color, 
drab, gray, etc. 

13. Pig-nieiits. — This term is applied to certain kinds 
of alluvion or other matter with which a vehicle, such as 
varnish, oil, or turpentine may be added to produce a paint. 
Mineral pigments are those found in their natural state 
and comprise a low grade, or the inexpensive colors. Such 
colors as umber, sienna, ocher, etc. belong to this class. 
The higher grades of mineral pigments are produced from 
metallic oxides and are reduced from a metallic state either 
by treatment with acid or by incineration. Vegetable pig- 
ments are limited to one or two colors, which is true also of 
animal pigments; bone black and cochineal are important 
products of the latter class. 

Cochineal, which is one of the most brilliant red pigments, 
consists of the bodies of female insects {Coccus cacti), killed 
and dried by heat. This insect is a small creature, a pound 
of cochineal containing, it is said, 70,000 dried bodies of 
cochineals. The insects feed on plants of the cactus family, 
particularly on that known in Mexico as the napal, quite 
nearly allied to the prickly pear. Besides furnishing us a 
pigment, cochineal is also used by confectioners as a color- 
ing matter for all candies that are required to be given a 
pink color or a deep transparent red. 

14. Spectrum Colors.— In the color chart, Fig. 1, is 
shown the ideal spectrum. The proportion of color is made 
equal for reference purposes. It contains twenty-four dis- 
tinct colors. Between the red and orange, orange and 
yellow, yellow and green, green and blue, blue and violet, 
there are three colors; one neutral, to which we have already 
referred, and one on either side of this partaking of the 
color adjoining it. 



8 SHOW-CARD WRITING gl 

HANDLING OF COLORS 

15. Harmony and Contrast. —The liandlinjac of 
colors, in the full sense of the word, does not mean 
simply the knowledge of the many ways in which colors 
can best be applied to a surface, but involves also a knowl- 
edge of the nature of the colors themselves, the effect of 
the elements on each, and the relations they bear to one 
another. This relation in colors classifies them as either 
harmonizing or contrasting with one another. A colorist 
should understand the result and drying elTects of placing 
one mixture on another, each having as a base an entirely 
different medium or liquid. All of these details must be 
considered, and many annoyances and serious complications 
can be avoided. 

16. Warm and Cold Colors. —Colors are in harmony 
with one another when they partake of the same general 
effect, such as the chrome yellow and sienna, chrome 
yellow and umber, or such colors or tints partaking of the 
red or yellow, called zvarm colors, or those of the oppo- 
site nature, which partake of gray, lead color, green, blue, 
etc., producing colors or tints that are called cold in their 
effect or tone. 

17. Contrast. —Colors are in contrast when warm and 
cold colors are used in connection with one another, although 
all such colors may not be so used without producing a hetero- 
geneous effect, as certain shades of red and green, blue and 
green, blue and red, etc. are most discordant to the eye when 
placed close together. Coloring, therefore, is a study that 
can be mastered only by close observation and experiment. 
Just as the professional musician produces some combined 
sounds that thrill us, so the professional colorist produces 
effects that are beyond the comprehension of the unskilled. 
More particularly is this true of the coloring displayed by the 
artist who imitates nature. He may, by the art of coloring, 
not only deceive the eye but produce combinations that will 
be most pleasing to it. 



m 




§1 SHOW-CARD WRITING 9 

18. CaiHl- Writers' Colors. — The card writer often 
has use for colors and mixtures that are not classified with 
those known as pure colors. Therefore, there are many 
combinations especially useful to him, the preparation 
of which depends on his ability to harmonize and con- 
trast colors. 

19. Shading- Colors. —Water-color black and burnt 
sienna form a warm neutral color. Black, colored slightly 
with green or blue, forms a cold color that makes a pleas- 
ing contrast with the former. These are transparent colors, 
and are used mosth^ on white show-cards for shading, 
ornamentation, etc. A variety of opaque colors used for 
lettering on black or colored cards may be made by placing 
a quantity of show-card white (referred to later) into a 
small dish similar to a sauce dish or saucer, and by wetting 
up the moist water color desired with a clean brush and 
water, the color may be dropped into the white and then 
thoroughly mixed. 

20. Gold Color. —This may be mixed in the following 
manner: Add to the white, chrome yellow and orange 
chrome in equal quantities; a small amount of vermilion 
should also be added. Opaque green and blue shades 
may likewise be produced. For an opaque water-color 
vermilion, used especially on black or dark-colored cards, 
orange vermilion should be used. This possesses excel- 
lent covering qualities. 

21. Flesh Color.— This may be produced by combining 
Naples yellow, light red, and white. While these colors 
can be made to imitate the color of flesh in a general way, 
the proper shading and high lighting of flesh color is accom- 
plished only by the professional colorist. For producing 
a life-like flesh* color, such colors as umber, sienna, blue, 
black, and green are employed. The natural appearance 
of the flesh is obtained by glazing with transparent colors 
and stippling. Umber and sienna will serve to shade the 
index hand or the face of a figure sufficiently good for use 
in show-card writing. 



10 SHOW-CARD WRITING §1 

22. l*i-ineii)al Colors >.'eeessary. —White and black 
may be used almost exclusively in show-card writinof, for 
all practical purposes. Many show-card writers confine their 
brush work to these in preference to colors, believing that 
simplicity is the first thing to be observed in advertising, 
while others seek to attract the eye by colors and every 
novelty that can be introduced on the show-card. 

Water colors take a most important place in card writing. 
They are vised for filling in outlined letters, also for decora- 
ting purposes, by embellishing the border, coloring designs, 
striping, shading, and for ornamenting the letters. 

Black and white are used in such large quantities that every 
letterer should be able to prepare them, and not be entirely 
dependent on the manufactured show-card inks. He may 
not be able to produce the same results attained by the use of 
ready-prepared colors, but he will find the white, the formula 
for which is given in the following article, to flow well and 
cover the surface with one coat. While we recommend this 
preparation for convenience and economy, we would advise 
that the beginner obtain the best white in order to insure 
most satisfactory results. Card-writers"' Avhito, furnished 
by the Technical Supply Company, Scranton, Pa., is the best 
product on the market for this purpose, and is prepared by 
one of the leading ink manufacturers of our country. 

23. Preparation of White. —The formula for white is 
as follows: In a vessel capable of holding 1 pint, mix dry 
zinc white with water until it becomes a thick paste, in 
quantity not to exceed two-thirds the capacity of the vessel; 
cover closely and allow this to remain a day or two, then add 
about 2 fiuid ounce of mucilage. The effect of the mucilage 
is to size the white; that is, to cause it to adhere sufficiently 
to not rub off after it has been applied to the'card surface. It 
also has the effect of greatly reducing the mixture to a con- 
sistency where it may be applied with the lettering brush. If 
it be found necessary to add water, great care should be exer- 
cised in thinning, as it is desirable that white should not only 
cover well witli one coat, but also flow readily from the brush. 



§1 SHOW-CARD WRITING 11 

24. Preparation of Black. —The color knovvn among 
letterers as slio>\"-car(l black will be found to be one of the 
best black preparations for card work. This color flows 
freely from the brush, is an intense black, and dries with a 
glossy surface a few moments after the application. It tnay 
be prepared by the student as follows: Use a vessel that 
will hold at least i pint; in this put coach black (ground in 
japan), in bulk, equal to a large English walnut; add three 
times this quantity of best asphaltum, also about a table- 
spoonful of best coach japan. Stir until thoroughly mixed, 
and thin this with a small quantity of turpentine until it 
becomes equal to the consistency of cream, or so that it will 
flow freely from the brush. Should the black, for any reason, 
fail to appear a jet black, more coach black may be added, 
and to give the letters a gloss, or a varnished appearance, 
the asphaltum is used. Put this mixture in a large-neck 
bottle with a screw-cap or cork top. This should always 
be well shaken before it is used. A preparation known as 
lettcrine is also an excellent mixture. The student should 
never use in letterine a brush that has been used in show- 
card black without first cleansing it thoroughly in turpentine 
and afterwards with soap and water. While the card-black 
preparation contains no oil, it is classified as an oil color. 
Letterine is purely a water-color preparation. 

Brushes used in card black or oil color should be cleansed 
thoroughly in benzine and dipped in kerosene oil before they 
are laid away, while it is only necessary to rinse brushes in 
water after using them in water color. The kerosene oil 
should be rinsed out of the brush in benzine before it is 
again put in color. 

When water colors are to be used and flowed over the 
black letter or lines, India ink, or show-card black should 
always be used. By so doing the liability of one water color 
working up into another and resulting disastrously is avoided. 
Higgins', or the Technical Supply Co.'s, waterproof India ink 
is a water color that may be used, however, and serve the 
same purpose as card black. 



12 



SHOW-CARD WRITING 



§1 



WATER COLORS 

25. Preparatu)!! of Watei* Colors. —Water colors 

are prepared by thoroughly grinding a pigment to a powder 
and mixing this with strained honey to a thick putty, after 
which it is placed in porcelain pans and covered over with 
waxed paper. Honey prevents the colors from drying or 
hardening and renders them moist and easily acted on by 
water. Following is a complete list of water colors, which 
may also be obtained in oil, put up in collapsible tubes: 



Antwerp blue 
Bister 
Blue black 
Blue verditer 
Brown ocher 
Brown pink 
Burnt sienna 
Burnt umber 
Charcoal gray 
Chinese white 
Chrome — light 
Chrome yellow 
Chrome — deep 
Chrome orange 
Cologne earth 
Dragon's blood 



List of Water Colors 

Emerald green 

Flake white 

Gamboge 

Hooker's green, No. 1 

Hooker's green. No. 2 

Indian red 

Indigo 

Italian pink 

Ivory black 

King's yellow 

Lampblack 

Light red 

Magenta 

Mauve 

Naples yellow 

Neutral tint 



Olive green 
Payne's gray 
New blue 
Prussian green 
Prussian blue 
Raw sienna 
Raw umber 
Roman ocher 
Sap green 
Terre verte 
Vandyke brown 
Venetian red 
Vermilion 
Yellow lake 
Yellow ocher 



Alizarine crimson 
Brown madder 
Cerulean blue 
Crimson lake 
Indian lake 



Indian yellow 
Mars yellow 
Neutral orange 
Orange vermilion 
Purple lake 



Scarlet lake 
Scarlet vermilion 
Sepia . 
Roman sepia 
Warm sepia 



Aureolin 
Burnt carmine 
Cadmium orange 
Cadmium yellow 
Cadmium — pale 
Carmine 
Cobalt 



Ex. madder carmine 

French ultramarine 

Gallstone 

Green oxide chromium 

Intense blue 

Lemon yellow 

Mars orange 



Pink madder 
Pure scarlet 
Purple madder 
Rose madder 

Smalt 
Ultramarine ash 



Veronese green 



Violet carmine 



§1 



SHOW-CARD WRITING 



13 



List of Oil Colors 

Prepared oil colors in tubes comprise the foregoing list 
of water colors with the following additions: 



Asphaltum black 

Bitumen 

Black lead 

Caledonian brown 

Cappah brown 

Cassel earth 

Chinese blue 

Chrome green, No. 1 

Chrome green, No. 2 

Chrome green, No. 3 

Cinnaber green — light 

Cinnaber green — medium 

Cinnaber green — deep 

Cork black 

Cremnitz white 

Jaune brilliant 

Mauve, No. 2 

Megilp 

Burnt lake 
Chinese vermilion 
French vermilion 
Green lake — light 
Green lake — deep 



Brilliant ultramarine 

Carmine, No. 2 

Citron yellow 

Cobalt green 

Emerald oxide of chromium 

Extract of vermilion 

French Veronese green 

Indian yellow 

Leitch's blue 

Madder lake 

Malachite green 



Monochrome tint. No. 1 — cool 

Monochrome tint, No. 2 — cool 

Monochrome tint. No. 3 — cool 

Monochrome tint. No. 1— warm 

Monochrome tint, No. 2 — warm 

Monochrome tint. No. 3 — warm 

Orpiment 

Oxford ocher 

Permanent blue 

Permanent white (zinc) 

Permanent yellow 

Prussian brown 

Sky blue 

Sugar of lead 

Terra rose 

Transparent gold ocher 

Verdigris 

Verona brown 



Geranium lake 
Pale vermilion 
Rembrandt's madder 
Rubens' madder 
Sepia 



Mars brown 
Mars orange 
Mars red 
Mars violet 
Mineral gray 
Permanent mauve 
Permanent violet 
Scarlet madder 
Strontian yellow 
Viridian 



26. Water Colors Necessary. — Such water colors only 
as are included in the outfit are necessary for card writing. 
Should a student be unable to procure these of his local 



14 



SHOW-CARD WRITING 



§1 



dealer in artists' materials he may be supplied throug-h the 
Technical Supply Company, Scranton, Pa. Many of the 
foregoing colors are furnished in screw-cap glass jars and 
are convenient as well as economical for those using water 
colors in large quantities. 



BKIISHES 

27. Red Sables.— The brushes used mostly in card wri- 
ting are the long-handled, red-sable brushes, known as riggers. 
These range in sizes numbered from 1 to 12 consecutively. 
The hair of No. 1 is i inch long, while that of No. 12 is 




1 ^ ;i 4 5 tl 7 S '.I 1(1 11 \i 

Fig. 3 

about 1 inch long. As shown in Fig. 3, these brushes are 
well made and suitable for use in oil or water color. Artists' 
red-sable brushes known as Brights are a variety that give 
general satisfaction. Being flat or chisel-shaped, they are 



§1 



SHOW-CARD WRITING 



15 



especially useful on certain kinds of letters and also for 
shading. These range in size from 1 to 9, as shown in 
Fig. 4. The largest sizes are most serviceable. 





28. Caniel's-Hair Brushes. — Next to the red sable in 
importance is the ordinary' camel's-hair brush. This variety, 
known ?,% super extra, ranges in eight sizes numbered from 
1 to 8. The hair of No. 8 is U inches long; No. 1, \ inch 



16 



SHOW-CARD WRITING 




Fig. G 




§1 



SHOW-CARD WRITING 



r 



long. These brushes are known also as goose qw'lls, and are 
the least expensive brushes used by letterers. The three 
sizes shown in Fig. 5 are sufficient for card-writing purposes. 

29. Square Sliaders. —Square shaders are made of 
selected stock and are the best variety of camel's-hair 
brushes made. They range in sizes from Nos. 1 to 8, 
shown in Fig. 6, and are also known by the name of 
B cawcVs hair. These brushes are used for lettering as 
well as shading. 

30. Wasli Brushes. —The brushes generally used for 
flowing large quantities of water color on a cardboard are 
of two varieties, camel's hair and red sable. The former 
are flat and are made in five sizes, ranging in width from 




f to 1 inch, shown in Fig. 7. The latter are a round, double- 
end pointed brush, and range in six sizes from No. 00 to 4. 
The red-sable wash brushes are found most convenient for 
filling in letters or designs when a pointed brush only can 
be used to advantage. These are shown in Fig. 8. 



MATERIAIiS 



CARDBOARD USED BY CARD WRITERS 

31. Card-Writers' White Bkiiik. — The size of white 
cardboard used for general sign purposes is 22 in. X 28 in. 
A size 28 in. X 44 in. may also be obtained in the white, but 
not in colors. White cards should possess a dull finish that 
renders them capable of readily absorbing water colors. The 
thickness known as 8-ply blank is commonly used, although 



18 SHOW-CARD WRITING SI 

6-ply is of sufficient thickness to serve all requirements. 
They are put up in original packages of 50 cards, and may 
be procured at any paper warehouse. 

32. Colored Cards. —Colored cards are furnished in 
almost every color and shade, but the colors most service- 
able to a card writer are those on which white or black will 
show to the best advantage. Black, maroon, sea green, 
deep blue, chocolate, yellow, and red comprise the colors 
generally used. The size of these cards is 22 in. X 28 in., 
and the thickness is somewhat less than the 6-ply white card. 

33. Photo-Mouutiiig; Board.— Gray mounting board, 
size 22 in. X 28 in., all thicknesses, may be obtained, and this 
will be found to be an excellent board to give variety to a 
card-writer's display. It may be lettered in black or white. 
A white letter and black shade is often used. 

34. Beveled Cards. — Beveled-edge cards are much 
used by card writers, and are furnished in white and colors. 
The sizes of these gold- and silver-beveled cards are fixed 
by the requirements of the photographer. The regular sizes 
used in mounting photos range from 4 in. X 5 in. to 14 in. 
X 24 in. They may be obtained from any dealer in photo 
materials. 

35. Manila Pattern Paper. — For large announcements 
requiring an extra large surface, the Manila pattern paper 
may be used to the best advantage By pasting the edges 
and fastening strips together, an interior or window sign of 
any size may be made. Manila pattern paper comes in 
various widths, weight, and quality. It may be obtained in 
roll or fiat, and purchased at any paper warehouse. 



§1 SHOW-CARD WRITING 19 



ELEMENTS OF LETTERING 



COMPONENT PARTS OF A LETTER 

36. The stroke is the term applied to the width 
between the outlines forming the letter; when applied to 
letters possessing- more than one width between its outlines, 
it always refers to the greatest width, and usually to the ver- 
tical portion of the letter, as distinguished from the fine line. 

The fine line is the line connecting the strokes or lines 
attached to them, forming a part of the letter, and is usually 
a horizontal line. 

The spur is a small projection from the extremity of a 
letter and exists in several varieties, according to the style 
of letter on which it is used. 

The face of a letter usually includes all the space forming 
a rectangle enclosing the extremities of the letter, but is 
often applied to the surface within the outline of the letter. 

The term shade is used to describe the treatment or 
finish of a letter. It is applied to a letter to give it the 
appearance of relief from the background; also, to cause 
one part of the stroke to appear projected or depressed 
from the surface. 

Block is similar to the shade in effect, and is used to give 
a letter thickness, or, as its name expresses, to give it a 
solid block effect, in which case the shade also is sometimes 
used beyond the block in the form of a natural shadow. 

The outline of a letter is the line that forms the letter, 
leaving the body of the stroke open. 

The ^vicltli of letters always applies to the space occupied 
between the vertical lines to the extreme right and left, and 
never refers to the height. 

The background is the surface on which the lettering is 
placed; it is also sometimes called the ground, or {icld. 



20 SHOW-CARD WRITING §1 

Condensing is a term applied to the closer spacing of 
the letters, or to making them narrower than normal width. 

Elongating is the term applied when the letters are 
drawn out to a greater width than the normal. This term 
should not be confused with the appearance of a condensed 
letter, with reference to its height. 

The cynia is a character employed to equalize the spacing 
of irregular letters by placing it where the space is open 
and requires something more than the plain letter to make 
the word appear solid. This character derives its name 
from the Greek, its undulating form resembling a wave. 
The cyma is usually attached to the letters A, L, M, W, etc.; 
it is used in but few styles of lettering, while in such styles 
as Old English it becomes a part of the letter itself. 



SPACING OF LETTERS 

37. Importance of Spacing. —Next in importance to 
the formation of letters stands the art of arranging them in 
words in a way calculated to make the word not only legible 
but symmetrical. This is called spacing. Nothing will 
destroy the harmony of a line of perfectly formed letters 
more effectively than a disregard of this art. The card 
writer must depend on his own good judgment, and cultivate 
the ability to proportion all spaces according to the combi- 
nations of letters. He seldom marks out the letters with 
accuracy, and, for this reason, must learn to approximate the 
space occupied by a word and to give each letter its proper 
relative position in the word. Irregular combinations occur 
in many ways, but true proportion must always reign in a 
word accurately spaced, so that its regularity is apparent to 
the eye at a glance. To accomplish this, special attention 
must be given to the width of the letter, the width of the 
stroke, and the space between letters. 

38. Correct and Incorrect Spacing. — Make the inter- 
spacings equal to one another, or as nearly so as possible. 
To do this may require the shortening of some extended 
letters, and the spreading apart of letters having vertical or 



1 



SHOW-CARD WRITING 



21 



parallel lines. This is shown by Figs. 9 and 10, in which the 
right and the wrong spacing can be seen. The L in Fig. 9 is 
shortened a full stroke in width instead of one-half stroke, 
which is the normal width of the letter; and the space 
between the A and the W\^ about one-half the width of the 
letter A at its base. At the top of the A is shown the cyma 
used to relieve the space that cannot be equalized. The cyma 
is also often used in a vertical position on the L, the point 

CAW LAW 



Fig. 9 



Fig. 10 



almost resting on the lower right-hand spur. Fig. 10 shows 
the effect of the rule followed by some letterers, who allow 
the same space between the extremities of all letters, 
and make no allowance for unequal interspaces. The 
parallel strokes of the A and the W are the same distance 
apart as the L and the A, leaving the L full width. Many 
such combinations occur, and unless we observe this rule we 
may expect no better effects than in Fig. 10. Two project- 
ing letters, either Z's or 7"'s, often occur together, as in such 
words as "millinery," "butter," etc., and at the same time in 

ILLN UTTEI 

Fig. 11 Fig. 12 

connection with letters that are full face or occupying full 
width top and bottom, as shown in Fig. 11. In such cases the 
L should be made the width of the stroke narrower than 
the full-face letters, and the spaces between the latter and the 
right-hand letters next to them should be one-half the width 
of the stroke. There should be a space of the full width 
of the stroke between parallel-stroke letters, as the / and 
the L. In Fig. 12 the 7^'s are shortened only one-half 



22 SHOW-CARD WRITING §1 

the width of the stroke, allowing- the same space between 
them and the letters on each side as allowed in Fig. 11 
between the end of the right L and the stroke of the A^. 
The letters, therefore, with which we shall experience the 
most difficulty in spacing, are the slanting-stroke letters 
A, K, l\ IV, and V and the projecting letters /% J, L, and T. 
Two round letters coming together, such as 



00 



in condensed styles, having no spurs, may be allowed to 
almost touch each other without having the effect of doing 
so; while such letters as 



JE 



produce the ei^ect of being closer together than they 
really are. 

39. Care must always be exercised in selecting a style of 
letter to suit a space as well as a word. The placing of a 
word in a given space not appropriate to it will cause the 
letters to be either so separated by spaces or so condensed 
for want of space as to make them unsightly and difficult to 
read. Under the heading of Inscription Designing, the sub- 
ject of the selection of styles to meet all requirements is fullv 

SENATE 

Fig. 13 

treated. The appearance of the spacing of letters is similar 
to that of a company of soldiers. If a portion of the com- 
pany be separated by a space greater than the manual pre- 
scribes, it has the appearance of a separate detachment and 



§1 



SHOW-CARD WRITING 



23 



is noticeable at a glance. In the same manner, if a word is 
spaced properly throughout with but one exception, it has 
the appearance of two words. For example, take the word 
"senate" shown in Fig. 13, where the space between the A'' 
and the A gives it the effect of being two words. 



SHADING 

40. Sliacling on tlie Left Side. —Shading is used to 
cause the letter to appear in relief, and thereby take away the 
flat or plain appearance. Shading may be placed on the top, 
bottom, or either side of a letter, but it should at first always 
be placed on the bottom and left side; as, for several reasons, 
it is best not to try to shade a letter on the right side until 
the student is familiar with the left, as he will use this side 






for all practical purposes. The reasons for giving this side 
the preference are: (1) Regularity and symmetry of the 
shade occurs in more of the letters when shaded on the left 
side, such as the S, E, C, R, etc. Fig. 14 illustrates this 
advantage, and shows the single stroke on the left at {a), 
and the broken shade from the stroke on the right side 
at (/'). (2) By shading to the left, the letterer can accom- 
plish more in a given length of time, and produce a better 
efl^ect in his work when finished. (3) The majority of 
strokes in shading to the left are drawn toward the letterer, 
while in shading on the right the brush is pushed to the 
right, which in itself is a strong argument in favor of the 
former. 



24 



SHOW-CARD WRITING 



SI 



41." Shading should always be executed on the assump- 
tion that the light falls on the letter at an angle of 45°. This 
principle can best be shown by reference to Fig. 15. The 
maximum width of the shade occurs at a, a, midway between 
the two lines b, b, and then diminishes to lines b, b, where it 
is completed. The tendency of the average letterer is to 
give too much thickness where shade begins or finishes. 
All letters must be shaded on the same angle at every point, 
and, after practice, this angle becomes as well established 
with the letterer as the horizontal or vertical lines. Every 
characteristic point of the letter must be shown in the 





Fig. K; 



Fig. 17 



shade, as at a, Fig. 16, and all must be of equal width in 
all letters except the round characters, whereon the shade 
reaches this width only at the maximum point of thick- 
ness in the letter. 

42. Block Sliade. —There are many methods of obtain- 
ing beautiful effects in shading, which will be considered 
separately. The block shade, as its name indicates, consists 
of the effect of making the letter appear to have thickness. 
This is done by the use of two shades, the dark, or stronger 
one, being used underneath all horizontal strokes, and the 
lighter tint on the side of all vertical strokes. The block 
shade can also be placed on the top or right side of the 
letter, in which case the block, as well as the letter itself, is 
shaded the same as that shown in Fig. 17. Here the shade 
has below and to the left of the letter the appearance of a 
cast shadow. 



§1 



SHOW-CARD WRITING 



25 



43. Cast Sliaclow. — The cast shadow is also used in 
connection with heavy-stroke letters, block shading, etc., 
giving the letter the appearance of standing upright, either 
on" a level or on a slanting surface. The top of the shade is 
on a line about one-fifth of the height of the letter below the 
top. The shade is made on an angle of 30° to the left, the 





Fig. 18 

point resting on the lower left corner of the letter, as in 
Fig. 18, where (a) shows the letter with a block shade and 
cast shadow, and {d) shows the simple outlined letter and cast 
shadow. The shade is sometimes used by duplicating the 
letter in the form of a shadow cast on the background, one- 
fifth of the height of the letter below the top, and on the 
same angle (4o°) as the regular shade, as shown in Fig. 19. 




Fig. 19 Fig. 20 

44. Kelief Shade. — Relief shade is obtained b\Meaving 
a space between the letter and the shade on the same angle 
as the shade, as shown in Fig. 20, making the space and 
shade of uniform width. When used in connection with 
block shade, it is often of the nature of the natural shade, 
and is added to the block shading without any line or space 



26 



SHOW-CARD WRITING 



§1 



between. The relief shade when used as a natural shade on 
a white or tinted ground is made to represent the strength 
of the shadow cast from an object on the ground on which the 
letters are placed. This shade is produced with the pen by 
means of lines, but more effectively by the brush and trans- 
parent color. 



LETTER-FACE LIGHTING AND SHADING 

45. Importance of Subject.— The treatment of the 
face of the letter is a very important consideration. The 
letterer often finds himself confronted with a line of 
extremely plain lettering that, even after it is shaded, 
remains flat and unsatisfactory. This effect can sometimes 
be overcome by the addition of lights and shades placed 
directly on the letter face itself. The face of the letter may 
be variegated or blended from a light to a dark shade, in 
which case a sharp outline must surround the entire letter, 
as shown in Fig. 21. Lighting and shading are used with 




Fig. 1>1 



Fig. 



Fig. 23 



best results on heavy-faced letters, as all treatment of the 
face of a letter by shading has the tendency to considerably 
reduce the apparent width of the stroke. 

46. Effects Produced. —Another effect is produced by 
running bars of color across the center of the letter, and 
diminishing these bars in width to a point midway from 
center to top and bottom, as in Fig. 22. Diminishing circles 
are also used on letters of lighter face, such as the Roman, 
and can be made to occupy the entire face, or, as is shown 
in Fig. 28, terminating at a given point, which must be 
regularly observed throughout the line of letters. 



§1 



SHOW-CARD WRITING 



47. Heavy Highlight. —The heavy highlight is used 
in the treatment of the face of the letter by making the 
upper half of the letter a uniform tint, either by lining, as 
shown, in Fig. 24, or with colors. The darker shade b is 
placed on the lower half of the letter, allowing a highlight 
on this equal in strength to a, or the upper half. The high- 
light c on the upper half of the letter is left white. By a 
combination of the shades of colors many beautiful effects 
can be produced by this means, using blue, green, gray, or 
gold color, the last of which combines with sienna for the 
lower portion, and with cream color for the upper highlight. 
Blue or green when used should have tint and shade of the 
same color. 

48. Beveled Shading. — Shading on the face of a letter 
to represent a beveled appearance is another treatment that 
gives a line of lettering a finished and pleasing effect. In 





Fig. 



this process it is necessary only to observe the rules of light 
and shadow, as shown in Fig. 25, by shading the letter on 
the left and bottom sides from a line drawn through the 
center of the face of the letter. This form of shading is 
often used on a gold or silver letter by the use of trans- 
parent colors such as varnish stained with asphaltum, which 
is used on gold, and varnish darkened with lampblack is used 
on silver letters. There are many other methods of treating 
the face of letters by the use of ornament, whereby it loses 
its identity as a plain and becomes an ornamental letter. 



28 



SHOW-CARD WRITING 



§1 



THJ: IIIGIII.ltiillT 

49. As its name indicates, the liiglilif^lit is used to 
illuminate or light up a letter, which it does with wonder- 
ful effect. The highlight is placed on the edge of the 
letter, opposite the shade, or on the right and top of 
the strokes. It is always a fine line of either gold, silver, 
white, or cream, according to the color of the letter on 
which it is to be placed. If the letter is a colored one, 
gold or silver can be used. If the letter is gold, nothing 
will serve the purpose of a highlight so well as cream or 
white. On silver or aluminum, white only can be used. 
To be most effectual this highlight must be a fine, even 
line. The heavy highlight is used in letter-face lighting 
and shading, and is explained under that head. 



CUTTING IN LETTERS 

50. Uses of Cut-in Letters. —This term is applied to 
that style of treatment wherein the letters are drawn in out- 
line, and the background is filled in around them. In 
inscription designing this method is resorted to frequently. 




^^ 



in order to break the monotony of several lines of plain 
lettering. The insertion of a panel or ribbon, on which the 
letters are cut in, provides a colored background, against 
which the letters are outlined, allowing the same color for 
the letters as the main ground of the inscription design, as 
shown in Fig. 26. The color of the panel and background 
will govern very largely the character of letter to be cut in. 
If the general ground is white or any light color, and the 



§1 



SHOW-CARD WRITING 



29 



cutting-in or outline color is very dark, a heavy-faced letter 
may be used without causing any appearance of clumsiness 
or ill proportion. A white letter on a dark-blue ground 
can be read at a greater distance than any other combina- 
tion of colors. 



CliASSIFICATIO?^^ OF LETTERS 



ORNAMENTAI^ T.ETTERS 



51. Seox^e of the Subject.— 

all alphabets in which no line or 
curve enters that is not absolutely 
necessary to show their form or 
outline; a line thus added may 
place them among the ornamental 
letters. Although it will be impos- 
sible to go over the entire ground 
covered by this subject, as there 
are endless varieties of orna- 
mental letters, the styles found to 
be most essential will be con- 
sidered. There are many letters 
into which ornamental construction 



The plain letters include 





Pig. 27 

enters but slightly, while 
others are composed en- 
tirely of ornamental 
forms. The ornamental 
letters of most value to 
the student are those on 
the face of which the or- 
nament appears, either in 
the form of relief scrolls, 
geometrical figures, or 
designs in arabesque; 
although this latter treat- 
ment is not used exten- 
sively in modern practice. 



30 



SHOW-CARD WRITING 



§1 



52. Ornamental Foi'nis. — Letters classified as orna- 
mental are of so great a variety that such as are used in 

connection with the shade 
to produce a bent or 
rounded effect, as shown 



^^( ^) )W^ in Figs. 27 and 28, might be 
classed with this style. 
Fig. 27 shows the ground 
to be a plane surface and 
the letter bent or warped, 
while Fig. 28 shows the 
letter to be perfectly 
straight, and fastened with 

screws, while the ground has the effect of being bent or 

warped. 





53. A letter that in itself is perfectly plain but sur- 
rounded by ornamentation, as shown in Fig. 29, is called an 
ornamental letter also, though 
as a matter of fact the letter 
itself may be perfectly plain. 

54. other Forms.— Other 

ornamental forms are as fol- 
lows: The relief-ornament 
letters shown in Fig. 30 can be 
made in various ways. The 
whole form of the letter may be treated in this manner, as 
at (a), or by simply suggesting it in the middle or edge of 
the letter, as in {b) , {c) , and (r/). A letter may be plain, so 




Fig. 31 



§1 



SHOW-CARD WRITING 



31 



far as its face is concerned, but on account of its form and 
construction it may be classified as ornamental, as shown 
in Fig. 81. 

There are many forms of designs used in letter-face orna- 
mentation, either filigree work, geometrical design^, or a com- 
bination of both. In Fig. 32 are shown three letters of the 




face-ornament class, the one at (a) being decorated with 
filigree work, while (/') shows a geometrical design, and 
(c) simply the cross-line shading. 



GROTESQUE LETTERS 

55. Rustic tietters. — All letters are either plain, orna- 
mental, or grotesque. The first two classes follow in their 
outline construction the forms of the fundamental styles and 
their many variations, but this third class is entirely different. 
The grotesque letters have no recognized 
or classical form, such as would place 
them among the styles of the alphabet, 
but are made by using natural objects, 
which are arranged so as to conform to 
any regular or irregular shape that will 
cause them to represent a letter, and any 
form, therefore, is allowable so long as 
the letter may be recognized. To accom- 
plish this, objects such as a human figure, a piece of rope 
or ribbon, broken boards, leaves, vines, and trunk of a tree 
are used. Of the three latter forms, the rustic letters are 
made. The leaves, tendrils, stump, and trunk of a tree 




Fig. 33 



32 



SHOW-CARD WRITING 



§1 



form the material used for an entire alphabet, one letter of 
which is shown in Fig. 33. These letters can be made very 
artistic, and show great skill in their arrangement. And, 
while they may be pleasing to the eye, they are of no 
practical importance to the student in the study of show-card 
writing, as their proportions are purely arbitrary. Examples 
of these letters are given in order that the student may 
be able to form any style of letter were he called on to 
do so. Fig. 34 shows the forms of some of the grotesque 




£K 




Fig. 34 



letters, in which (a) is formed by a human figure, (/?) by 
broken boards, and (r) with a piece of rope. Any alphabet 
may be constructed of these forms as the fancy of the artist 
may dictate, even though he may be ignorant of the true 
form or proportion of the simplest style of the alphabet. 



ILLUMINATED CAPITALS 

56. History and General Use.— The monks of the 
Middle Ages were the first to make use of this art, many 
specimens of which would indicate that they must have 
spent days in designing and executing a single letter. In 
treating this subject here, our pvupose is simply to call 
attention to the most simplified forms of illuminating, 
especially those forms designed for the use of the average 
card writer. The practical use of this art is now confined to 
lithographing, engrossing, card work, and ecclesiastical 
decorations. The printing and lithographing artists have 
displayed wonderful skill in recent years in illuminated 
work, especially on show-bill designs. The use of colors to 



SHOW-CARD WRITING 



33 



light up the capital letter gives a surprising effect to a com- 
plete line of lettering, and is done by a simple combination 




Pig. 35 

of designs of most harmonious colors with the letter exe- 
cuted, and by using colors of striking contrast to the tints 
used to form the background. 
Such colors as can be combined 
to give a brilliant effect are used 
in the form of a plaque, part panel, 
or both, on which the letter is 
brought out most conspicuously, 
as shown in Fig. 85. The illumina- 
tion practiced by engrossers is 
usually of such a nature as to pro- 
duce a finished and pleasing effect 
without resorting to colors. There 
are many ways by which this can be accomplished. One 
method is simply by the use of a pen and black ink, as 
shown in Fig. 36, outlining the letter first, then making the 




Fir,. 36 



34 



SHOW-CARD WRITING 



§1 



ornamentation surrounding it conform to any desired design, 
thereby giving the letter prominence. Great care should be 
taken that the ornamentation is not made more pronounced 
than the letter, but rather that the former is used as a means 
to bring out or illuminate the letter. 

57. Card Work. —For card work, the illuminating of 
capitals gives tone and finish, and relieves a show-card 




Fig. 37 

of extreme plainness. For practical purposes, such as 
attractive advertising cards, banners, etc., the illuminating 
of capitals will be found to hold an important place, and is 

coming into favor and more general 
use. There are also many forms 
and designs employed as a panel, on 
which illuminated capitals are placed, 
in a solid or outlined letter; the out- 
line letter, however, being the most 
convenient, is most frequently used, 
especially when either the panel or 
the letter, or both, are to be treated 
in water colors. The letter outlined is sometimes filled in 
with carmine or other bright color, while the panel surrounds 
it with a tint of cream white, yellow, or green. Two or 




1 



SHOW-CARD WRITING 



35 



three shades of color are sometimes used, either variegated 
or in the form of line work on top of tint, as in Fig. 37. 

58. Index Capitals. — Fig. 38 shows the index capital 
that may be used both as an illuminated capital, or to draw 





Fig. 39 



attention to the inscription following. If the hand be colored 
in natural colors, and the letter brought out conspicuously, 
this will produce a most 
attractive form of a capital 
letter. 



59. Paneled Capitals. 

Illuminated capitals are 

used in show-card writing 

on a panel or design made 

to conform in a general way 

to the letter used. By the 

use of water colors these 

capitals may be made most attractive and very little time 

wnll be consumed in designing them. Several examples 

of these capitals are given in Fig. 39. 




36 SHOW-CARD WRITING §1 

60, Heraldic Sliield. —A heraldic shield is often brought 
into use, on which the illuminated capital is placed. There 
are many designs or forms of this shield, which can be changed 
to suit any form of a letter, as shown in Fig. 40. 



TREATMENT OF LETTERS 



CONDENSING, ELONGATING, TELESCOPING, AND 
INTERLACING 

61. Condensing tietters. — In conforming letters to 
fill a required space, we are often compelled to resort to 
various means of accomplishing our purpose, without making 
the inscription appear distorted or out of proportion. When 
the panel or space to be lettered is much shorter than would 
admit of a regularly proportioned letter, we are compelled 

COMPANY 

Fig. 41 

to resort to the condensing of the letters, observing 
generally the rules of their proportionate width. To illus- 
trate more fully, the word conipauy is used to show the two 
forms of condensing, as well as the two forms of elongating. 

62. Example of Condensed Letter. — In Fig. 41 is 
shown the condensed form, as may be seen by comparing 
the proportions of the letters with those of the Egyptian 
Plate. The letterer may condense his letters to the width 
of those of Fig, 41, and find they are still too large for the 
required space; the vertical strokes can then be reduced to 
one-half the regular width, and the horizontal strokes main- 
tained at the regular, or even greater, width, and less space 



§1 



SHOW-CARD WRITING 



37 



allowed between letters, as in Fig. 42. This reduces the 
word to almost one-half that of Fig. 41. 

63. Elongating tietters. — To elongate the same word 
in the same style of letter, make the height, for convenience, 
one-half that of Fig. 41; thus, it 
will be observed that if this elon- 
gated letter were twice the height 
it is in Fig. 43, it would occupy a 
space almost four times that of 
Fig. 41. To further elongate this 
word, reverse the rules of Fig. 42, 
by reducing the horizontal strokes 

one-half the regular width, keeping the vertical strokes regu- 
lar width; or these may be increased to twice their regular 
width if desired, also giving more space between the letters, 






as shown in Fig. 44. By this means a w^ord can be made to 
fill a space much too long for the regular proportion given 
this style of letter. 

64. Exaggerated Example.— To show condensing 
and elongating in its maximum form, the example in Fig. 45 
is given. This, however, is a form of lettering that is not 




rvi 




practical for card writing except it be used merely as a 
novelty. In reading this style of letter it is necessary to 
incline the surface in order to produce a foreshortened view 
of the letter, and to close one eye to avoid a confusion of 
the vertical lines. 



38 



SHOW-CARD WRITING §1 




Fk;. 45 



3r^irf 




SHOW-CARD WRITING 



39 



65. Telescoping;. —Telescoping is not of so much prac- 
tical advantage as condensing or elongating, and is used 




Fig. 47 

mostly to produce a relief effect. This is 
done by giving the letters the appearance 
of overlapping one another, as shown in 
Fig. 47. Every alternate letter is dropped 
enough below the line to prevent con- 
fusion of horizontal lines and to preserve 
the complete identity of each. These 
letters can be shaded on the background 
but not on the face, as this would tend to 
destroy their legibility. 

66. Interlacing. — Interlacing to its 
fullest extent enters into the construction 
of a monogram; but the form of inter- 
lacing at present under consideration is 
somewhat different, and includes the inter- 
lacing of an entire word. This is very 
often resorted to by the designer, espe- 
cially in the use of eccentric letters, which 
are made to extend far beyond the limits 
of the fundamental styles from which they 
are derived, as shown in Fig. 46. There 
are examples of interlacing and tele- 
scoping combined, one of which is given 
in Fig. 48. This is also a practical treat- 
ment in designing, but a letterer who 
understands the principles of the fore- 
going subjects may easily apply them ^^^•■ 
whenever the inscription requires to be thus treated. 




40 SHOW-CARD WRITING ^1 



BRUSH WORK 



METHODS OF HANDIiING THP: BRUSH 

67. Treatise and Practice. — In the foregoing pages 
we have endeavored to give the student all the information 
necessar\^ to enable him to intelligently undertake the prac- 
tical study of brush work in all its forms. Having acquired a 
knowledge of the various colors, tools, appliances, materials, 
etc., which have been given him thus far simply in the form 
of a treatise on these subjects, we now require him to take 
up the study of the following subjects by putting into practice 
every detail of instruction given, subject by subject. Before 
beginning on any portion of the practice work, on which we 
are about to enter, we again urge upon the student the 
necessity for constant practice. If you do not make a credit- 
able attempt, even after many trials, do not be discouraged; 
keep on trying until you are successful. 



EXERCISE I 



STRIPING 

68. Position of Hands.— For practice use white card- 
board. After charging the brush with show-card black, the 
hairs of the brush should be drawn to a point on a paper 
palette before attempting to apply the brush to the show-card. 
Use a No. 5 red-sable rigger. Study carefully the position 
of the hand shown in Fig. 49. The brush is held firmly 
between the thumb and forefinger, allowing the handle to 
rest against the fleshy part of the thumb. The three fingers 
remaining free are used to guide the hand. 

The beginner should at first run a stripe quite near the 



SHOW-CARD WRITING 



41 



edge of the card, about i inch from it. We would advise 
that he first mark the line lightly with a lead pencil, using a 
straightedge. Draw an even straight line. To avoid the 
possibilitj^ of making what is known among stripers as a fat 
line, that is, wider in some parts than others, the hand 
should be maintained at 
a uniform distance from 
the surface of the card. 
This feature of striping 
requires much practice. 
The first attempts 
will show irregular and 
wavy lines of various 
widths; it is possible, in 
a short time, however, 
to make a hair line by 
this method at any re- 
quired distance from the 
edge of the card. Many 
expert card writers ex- 
perience no difiiculty in 
running a stripe 2 inches 
from the edge, which is 

the maximum distance generally required. After striping 
the card \ inch from the edge, the student should run 
another stripe parallel with this and about i inch inside of it. 
Repeat this operation until the striping is 1 inch from the 
edge; then use a fresh piece of cardboard. 




KXERCISE II 

69. striping AVitli tlie T Square. —There are two 
methods of accomplishing the same results in hair-line 
striping. The card-writer's design may be composed of 
several fine lines that run at various angles with the edge 
of the card. He is compelled, therefore, to seek some other 
method for striping than that given in Exercise I. The 
position of the hand shown in Fig. 50, aided by the use 



42 



SHOW-CARD WRITING 



§1 



of the T square or other straightedge, will best serve all 
requirements. 

For practice, take a piece of cardboard or stiff flat paper, 
charge the brush as previously instructed, take the brush 
between the thumb and forefinger, rest the fingers remaining 
free against the edge of the T-square blade, and proceed to 
draw lines as described in Exercise I. The brush must be 




Fig. 50 

held in a vertical position. Hold the brush in the fingers 
as closely to the hair as possible. By observing these 
few directions the student should soon be able to draw 
a hair line with comparative ease. 



EXERCISE III 
70. liroad Stripiiifv. — In Fig. 51 is seen another process 
by which the card writer is enabled to execute a broad stripe. 
It is by this means also that large letters are outlined with 
accuracy and rapidity. When practicing the method of 
striping the student will first notice that the position of the 



§1 SHOW-CARD WRITING 43 

hand is similar to that used in Exercise I. In this case, 
however, the hand is incHned to the right in order that the 
brush may be carried beyond the blade of the T square. 
The brush should be held as nearly parallel with the surface 
of the card or paper as possible. 

The brush is drawn over the surface, spreading its hairs 
somewhat, and touching with almost the entire length of the 
brush. Be careful to keep the width of the stripe uniform; 
this can be accomplished only after much practice. 

The width of the broad stripe must be governed entirely 
by the width and style of brush used. The brushes recom- 
mended for practice in this style of striping are the Nos. 
5 and 9 red-sable rigger. After practicing, using this 
position, the student may make the broad stripe with the 
hand in the position shown in Fig. 49, Exercise I. He will 
find the latter as convenient and useful in show-card writing 
as the former. When striping with the T square, do not 
hold the square at the head as when working with the 
drafting pen, but it should be held firmly in the center in 
order to resist the pressure necessary in guiding the hand. 



EXERCISE IV 



LETTERING 

71. Position of Hands.— The show-card writer has 
need for but two positions in placing his hands on the 
surface of the card. The mahl stick, a round stick with a 
padded end, formerly used for a hand rest by letterers, has 
long since been laid aside, and the arm rest, a narrow strip 
of wood with cleats fastened underneath either end, is now 
seldom seen in a modern show-card establishment. The 
show-card writer must possess the same freedom in the use 
of his hands as is necessary in penmanship. To accomplish 
this, he must place his hands on the surface of the card. 
Fig. 52 shows the position used in writing. When making 
letters 1 inch high or under, this position will be found most 



44 



SHOW-CARD WRITING 



§1 




SHOW-CARD WRITING 



45 



practicable, and the card writer may attain great speed in 
executing some styles of letters by this means. Practice 
holding the brush in this position, making vertical lines 
1 inch long. When letters of a larger size are required, 
it is necessary that the right hand should be given some 
rest, or support, in order that the hand may be raised a 
sufficient distance above the surface to enable the letterer 
to make a longer stroke with 
the brush. The position 
shown in Fig. 58 has been 
found, by card writers gener- 
ally, to be the only position 
that will serve the required 
purpose. The former posi- 
tion being the one used in 
ordinary writing, is familiar 
to the student. We there- 
fore require him to practice 
especially the position 
shown in Fig. 53. Allow 
the left hand to rest in any 
easy position, projecting the 
little finger somewhat in 
order to steady it. The right 

hand should rest comfortably on the left, and be arranged in 
such manner as to allow the wrist of the right hand to rest 
on the thumb of the left; the brush, being held between 
the thumb and forefinger, is also supported by the second 
finger. 

Although this may seem to be somewhat awkward at first, 
it will be found, with a little practice, to be the most natural 
and comfortable position, as well as the one by which the 
best work can be accomplished. It gives a greater scope to 
the hand in making a stroke than any other position or 
method; it also forms a rest, giving the letterer entire 
control over his brush. After some practice, a perfectly 
straight line may be drawn with the brush, either vertically 
or horizontally. 




Fig. 52 



46 



SHOW-CARD WRITING 



PLATE, TITLE: ELEMENTARY LINES 

72. Eleiuentary JLines. — It is important that the stu- 
dent should become accustomed to the use of the brush in 
the several positions in which he has been instructed, and be 
able to draw all elementary lines and curves before begin- 
ning the work of executing the alphabets. It is for this 
reason that we require him to give a large amount of time 
to the practice work given in the preliminary plates. As 




%-. 



previously instructed, use Manila pattern paper for practice 
work; make each line and curve many times, and when you 
are satisfied that you possess the ability to construct these 
in a creditable manner, prepare them as shown on the copy, 
using the drawing paper furnished in your outfit, and send 
the work to the Schools for correction. Draw the plate as 
follows: On the drawing paper, 2i inches from the edge on 
either side, draw a light lead-pencil line; 3 inches from the 
bottom edge draw another line, and 9 inches above this draw 
the top line, which encloses a rectangle 9 in. X l-") in. Within 



S 1 SHOW-CARD WRITING 47 

this space arrange the figures, beginning with the vertical 
lines. Use the No. 5 red-sable rio;ger. Make an even 
symmetrical line the width best adapted to the brush. 
Show-card black or India ink may be used by the student 
in the preparation of the work to be sent in for correction, 
although we prefer that ink be used for this purpose. 

The figures on this plate consist of vertical lines, horizon- 
tal lines, ogee lines (vertical and horizontal), left and right 
arcs, radiating lines, right oblique lines, diagonal lines, left 
oblique lines, parallel og'ee lines, and double ogee lines. 
After completing the figures, place title where it properly 
belongs. Print your name, class letter and number in the 
right-hand corner of the drawing, the date on which you 
completed it in the left-hand corner. An ordinary writing; 
pen may be used for this purpose. Make the letters of the 
size and style shown in the copy. 



PLATE, TITLE: ELEMENTARY CURVES 

73. Elementary Curves, — In the construction of let- 
ters generally, there are several principal curves or features 
that predominate throughout the alphabet. In ornament 
this is called the motive; in the alphabet, it is known as the 
stroke. To execute a series of these curves and become per- 
fectly familiar with all curves employed in letter formation 
will better fit the student for the more difficult task of join- 
ing these together to form a symmetrical and well-propor- 
tioned letter. Give much time, therefore, to the study and 
practice of these elementary curves. After you have prac- 
ticed making them, and are able to execute them with accu- 
racy, draw a rectang-le 9 in. X 15 in. on the drawing paper 
as described in Art. 72, and arrange them in their proper 
order, as shown in the copy. Letter the title and print 
in your name, class letter and number, and date where 
these properly belong, and send the work to the Schools 
for correction. 



48 SHOW-CARD WRITING §1 



IMPORTANT TO THE STUDENT 

74. The subjects that follo7c cannot be put to a practical use 
until tlie studoit has had considerable practice in letter forma- 
tion. We therefore recommend tliat he defer a practical study of 
the follozving subjects until he has completed the plate entitled 
Condensed Egyptian. However, read them over carefully now 
before proceeding with plate entitled Brush Stroke Letter. 
When a stiidy of these subjects is resumed, take up each separate 
subject in the sa)ne manner as you ivould an exercise in brush 
zvork, a7id put into practice every detail of the instructions 
given, tvhether this be i?i the form of a process or a practical 
suggestion. 

SPEED IN I^ETTERING 

75. A Common Error. —Too much cannot be said to 
warn the student against making the mistake that the begin- 
ner is very liable to make, namely, that of at once aiming for 
speed in lettering. Speed in the work is essential for the 
show-card writer in our day of activity, as well as for any 
other tradesman; but it has been observed that our most 
expert and speedy card writers are those whose early career 
was built on foundations of accuracy, study, and painstaking. 
As a result of these qualities they have acquired the greatest 
speed, and while they may execute a piece of work in the 
shortest possible time, it does not fail to bear the distinguish- 
ing evidence of a master hand. The beginner that would 
make speed his first requirement unfits himself at once 
for the highest attainment, and is soon fovuid in the class 
whose worthiest ambition is expressed in their creed, 
"Anything is good enough that will pass." We would say, 
therefore, do not at first consider the amount of time that 
you spend in executing a piece of work. Let the student 
ask himself these questions: Have I done the work to the 
best of my ability? Could I improve on it were I to 
execute it again? 

Again, the question of salary enters into the argument in 
favor of the careful card writer. The card writer of greatest 



§1 SHOW-CARD WRITING 49 

versatility, whose brain sparkles with original ideas in design- 
ing and whose work is faultless in its execution, can readily 
command a salary equal to four times that of the workman 
whose position is assured him only because of his ability to 
turn out a large number of cards each day. We would say, 
therefore, put a high premium on your ability, and do not 
allow your work to fall so low in the estimation of your 
employer that, were your hand work not a matter of economy 
in his printing bill, your services could be easily dispensed 
with. Make the artistic and attractive feature of your show- 
card writing paramount, and you will find laurels laid at your 
feet in the number of positions offered you and in your 
opportunity for advancement. In conclusion, we would 
again urge upon our students the need for hard and con- 
tinuous study combined with untiring practice. We give 
complete instruction by mail, but education does not come 
to the student straightway on opening the envelope; it is 
acquired only by hard work. 



METHODS A:ST> APPLICATION 



DRY COLORS 

76. Use of Dry Colors.— In show-card writing many 
beautiful effects are produced on white show-cards by blend- 
ing several colors together, thus giving the appearance of 
much labor, while in reality little time is required to accom- 
plish the work. Primarily, dry colors are intended for use in 
combination with some slow- or quick-drying vehicle, when 
they are converted into the form of ready-mixed paints. The 
dry colors used for blending must not be mixed, but applied 
only in their dry state. The student's outfit consists of five 
small packages, labeled: dry blue, dry green, dry orange, dry 
lemon, dry red. 

77. Blending;. — Let the student now study the subject 
of blending with these colors by first taking a sheet of white 
cardboard 14 in. X 22 in. Hereafter we will refer to this 



50 SHOW-CARD WRITING ^1 

as a half card. Lay out a diamond from points, 1 inch 
from center of top and bottom edge, and i inch from center 
of either side; 2 inches from the edge of the card draw a line 
entirely surrounding the card, but omitting this where the 
points of the diamond cross it. We then have the design as 
shown in Fig. 54. Cut out a triangular opening in a piece of- 
Manila paper that will correspond in size and form with one 
of the triangular corner pieces of the background left uncov- 
ered by the diamond. Allow a margin around this triangular 
opening of 4 or 5 inches. Begin by rubbing an even tint on 
the four triangles. To insure an even tint take a small 



ffioiCD 



Cr'^ci^n^r^it 



Butter 

25* lb. 



> 



amount of the green and place it on a piece of paper. Use 
a chamois skin or a wad of cotton batting for rubbing on 
the color. In order to avoid the use of too much color, the 
pad should be dipped into the color and rubbed out well on 
the paper until entirely free from loose color, and it should 
then be applied to the card, using the triangle in the form 
of a stencil. Rub the space until evenly covered with the 
tint. Do not make these colors too strong; their purpose 
is to take a secondary place to the inscription of the card. 
Repeat the operation, by cutting out a diamond the size 
reciuired; blend this by occupying one-third of the center 
horizontally with yellow. Into this blend red in the top 



§1 



SHOW-CARD WRITING 



51 



and blue in the bottom part. Outline the entire design with 
a fine line of black or red. The inscription may then be 
placed on the diamond in black, as shown in the figure. 
Many beautiful designs, such as illuminated capitals, ribbons, 
panels, borders, and in fact any design that can be cut in 
•paper to form a stencil, may be thus transferred to the card. 




Fig. 55 



78. Blending Around tlie Desigfn. —Another treat- 
ment with dry colors is as follows: Design a heraldic shield, 
or a fancy panel, suitable for an illuminated capital; cut this 
out and fix it in the desired place on a white card. Two 
colors may then be rubbed on and blended together either 
horizontally or diagonally, one color above the center and 
the other below. These colors should be of greatest strength 
close to the shield or panel and gradually diminished in 
strength as they leave the panel until they become indistinct, 



52 SHOW-CARD WRITING §1 

as shown in Fig. 55. The panel should then be outlined 
with a strong color. The letter may be outlined with black, 
and filled in with scarlet lake, and thus, by a very simple 
process, an elaborate illuminated capital may be produced. 

79. IJoiMlor Effects. —There are many ways of intro- 
ducing artistic effects by the use of dry colors for bordering 
cards. This may be accomplished by laying on a straight 
piece of paper 1 or 2 inches from the edge of the card and 
rubbing on the dry color toward the edge of the card. A 
serrated edge may be produced by cutting the edge of the 
paper, or a simple design may be cut in the edge of the paper. 
After rubbing on the dry color, the edge may be striped with 
some harmonizing color, or with black. 

ILLUMINATION OF SHOW-CARDS 

80. Use of AVater Colors. —Water colors are used to 
the best advantage on white show-cards having a diill finish 
that readily absorbs the moisture. By the use of water 
colors, white or black lettering may be made most conspic- 
uous, either by shading the letters or treating the letter face 
as described under separate headings that treat these subjects 
in a special manner. But the handling of water colors is not 
confined to these subjects only; the modern show-card writer 
can embellish and elaborate the show-card until this may be 
rightly classed as a work of art. The designs that are com- 
posed of artistic trade marks, floral pieces, or symbolic 
ornament offer an excellent opportunity for the display of 
skill in coloring. In Shozv-Card Desi,^)i and Oina?)ir>it, such 
designs are given, and the student will more fully appreciate 
our present instruction when he possesses an experimental 
knowledge in the more advanced subject of designing. We 
now require him to devote his time to applying the present 
instruction by filling in outlined letters with water colors. 

On a piece of cardboard outline several letters from the 
alphabet entitled Condensed Egyptian. Fill in one letter 
with scarlet lake, making this a medium shade. On the 
lower half of the letter, when dry, flow on a stronger shade 



§1 SHOW-CARD WRITING 53 

of the same color. The other letters may be colored in 
various ways, as shown on the plate entitled Transparent 
Color Work. 

81. Outlining for Water Colors. —The outline is made 
with India ink or with the card black, to which the water color 
will not adhere, but flows to the edge and stops. By this 
outline method, beautiful designs in flowers and highly illumi- 
nated effects can be produced. The outline of the design may 
be used as the guide for all water-color work in lettering 
panels, floral designs, etc., although this is not always essen- 
tial for the latter. The wider this outline is made, the easier 
will be the work of flowing on the color evenly, and the less 
the liability of running over the line; the fine outline, how- 
ever, should be used in many places, especially for floral 
designs and other work where a black outline does not 
enhance the artistic merit of the work. 

82. Sliading: With Water Colors. —There is nothing 
that will take the place of water colors for shading show- 
cards either in economy of time or in convenience. For 
shading the letters, a brush is used that will as nearly as 
possible make the shade with one stroke. The camel's-hair 
brush known as the square shader is best adapted to this 
special purpose. Water color cannot be worked over, when 
once applied, without showing brush marks; therefore, the 
color must be flowed on evenly with a quick, well-directed 
stroke, using care not to apply the brush again over a v=haded 
part when the excess w^ater has been absorbed by the card. 

Aside from filling in letters, designs, and for shading, 
water colors serve the purpose of ornamenting the show- 
card, being used to tint borders and for blending. A knowl- 
edge of the handling of water colors is, therefore, a necessity 
to the card writer. 



54 SHOW-CARD WRITING §1 



LETTERS 



VARIOUS TREATMENTS 

83. Black Letters. —The comparative strength of black 
and white is found to be in favor of the latter. Nothing in 
nature is pure white, nor is a shadow so deep as to require 
black to represent it. We have therefore in the use of black 
and white the greatest possible contrast. They may be said 
to balance evenly in the proportion of three-fifths black to 
two-fifths white. The reason for this is, that black absorbs 
the light, and therefore cannot be made neutral in combina- 
tion with white because of their opposition to each other. 
In show-card writing, black is used mostly on white card- 
board. It is important for the letterer to know that black 
letters should always be made heavy in stroke. Especially 
is this true if it be the intention of the writer subsequently 
to treat the face of the letter with colors or ornamentation 
in order to embellish it. 

84. White Letters. —White letters may be placed on 
black or on any dark-colored card. If white lettering be 
done with neatness and accuracy there is less need for 
shading or face treatment than is necessary in the use of 
black. The stroke of a white letter should be narrow, and 
in fact a small letter is always preferable. The student 
should choose such styles, therefore, as the extremely light- 
stroke Egyptian with an almost indistinct spur on each 
corner of the letter — which classifies it as Antique Egyp- 
tian, A Roman letter is also used; while the letter best 
adapted, and the one that may be executed most rapidly 
and present the most artistic effect, is script. White letters 
may be shaded or they may be tinted on the face, by either 
making the center or lower part of the letter of one or more 



§1 SHOW-CARD WRITING 55 

tints, or by filling in the entire letter with a tint, leaving a 
white outline surrounding the letter. 

85. Colored Letters. —Colored letters may be placed 
on white or black cards without regard to their nature except 
in reference to their harmony, which must always be con- 
sidered. Colors should be mixed with white when placed on 
a black surface, or such opaque colors as orange vermilion 
may be used clear. On vermilion a transparent color, such 
as crimson or scarlet lake, may be used. Colored letters on 
a white card may be opaque or transparent, but they should 
invariably be made of sufficient strength to appear well and 
be easily read. 

86. Bronzes. —Gold and aluminum bronzes are often 
used for lettering, in which case they are mixed like paints 
and are brushed on; after that, they may be outlined with 
white or some bright color, such as orange vermilion. Bronze 
is often used to outline letters or otherwise embellish them. 
If a large panel, ellipse, or disk be required, gilt or silver 
paper may be cut out and mounted on the card; or, if bronze 
be used, it will be found necessary to employ some means of 
checking the natural absorbing quality of the card. Shellac, 
glue, or a quick-drying varnish may be used for this purpose. 
Give the surface one or two coats, after which a coat of 
varnish size should be applied. Banana oil or brass lacquer 
is used if the bronze is to be mixed first and then applied as 
paint. If aluminum be required, make the size by adding a 
small amount of white lead and turpentine to the varnish. 
If gold or copper bronze be iised, lemon yellow may be 
added to the former, and Indian red to the latter. 

87. Flitters, Metalllcs, and Brocade. — Flitters, 
metallics, and brocade are small flakes of thin sheet metal that 
are applied to a letter face in order to more highly illuminate 
the work. These adhere to the letter by first coating the part 
with varnish where it is desired to place the metallics. 

88. Ising-lass. —Crushed isinglass is sometimes used on 
white letters to produce a sparkling effect, especially when 



56 



SHOW-CARD WRITING 



§1 



the letters are made to represent ice or frost. In card writing 
anything may be resorted to that will produce a novel effect 
and serve to attract attention to the show-card and so induce 
the passer-by to pause and read the inscription. 

89. Embossed Letters.— A bulb known as the air 
pencil is used to make relief letters, but its use is not espe- 
cially recommended, for the reason that sharp clear-cut letters 
cannot be produced by any mechanical means. This, as well 
as Scollay's relief bulb, known as the decorator'' s relief bulb, 
are convenient tools for any card writer to possess for deco- 
rative and ornamental purposes. Relief compound, a powder 
used for this purpose, is mixed with water to the consistency 




Fig. 50 

of thin putty and placed in the bulb. It is then applied by 
squeezing the bulb, thereby pressing the mixture on the 
surface of the card through the small tube or nozzle attach- 
ment, as shown in Fig. 56. 

90. Automatic Shading: Pen. — Perhaps no mechanical 
device for card lettering is so serviceable as the shading pen, 
and we therefore advise every student to become familiar 
with its use and the various styles of alphabets best adapted 
to it. These pens are furnished in sets of six sizes, ran- 
ging in width of stroke from Vi^ inch to -^ inch. There are 
also six colors of ink specially prepared for shading pens, 



SHOW-CARD WRITING 



57 



as follows: purple, green, blue, crimson, brown, and black. 
The pen is grooved so as to leave a dark color at the right 
of the stroke and an even light shade of the same color for 




Fig. 57 



the remainder of the stroke, as shown in Fig. 57. The 
automatic shading pen is convenient also for certain kinds of 
ornamenting in card writing. 



MODIFICATIONS OF LETTERS 

91. Tjiniits of Eccentric Letters. — It is the constant 
aim of the show-card writer, as well as letterers generally, 
to produce an exaggerated form of a letter, or to give to a 
well-known style of letter some new and original character- 
istic. For this reason letters are distorted into every forma- 
tion possible. This departure is always allowable and even 
commendable on the part of the designer so long as he does 
not depart from the chief essential of lettering; namely, 
legibility. If this be attained, the matter of eccentric form 
is of secondary consideration. 

92. Modifications of a 131ocli Letter. —In illustrating 
the following modifications of letters we will show the nor- 




(a) («) (c) (d) 

Fig. 58 

mal or regular letter and its modifications, as in the example 
given in Fig. 58. (a) is the style known as Full Block; (d) 
is the Railroad Block, in which the horizontal stroke is greatlv 



58 



SHOW-CARD WRITING 



reduced and the vertical stroke increased in width. For 
elongating- there never has been a letter invented that may be 
extended to equal this style of letter, (c) and (d) show the 
condensed forms. 

93. Modifications of tlie Egcyptiaii. —The same modi- 
fications appear in the Egyptian also, as shown in Fig. 59. 






(a) represents the normal letter, (d) the elongated, and 
{c) the condensed form of the letter. Another modification 
of a letter exists in the enlarged or reduced size of the 
stroke, as in the Antique Egyptian character &, shown in 
Fig. 60. In treating the modifications of letters, when the 
size of stroke is the principal alteration of the normal style, 




(a) 





(c) 



it often becomes necessary to change the character of the 
letter to meet the new conditions and give the letter a sym- 
metrical appearance. 

94. Liettcrs Tliat May Be Modified. —Many letters in 
the alphabet are not capable of much change on account of 
their simplicity, while others may be changed in several 



§1 



SHOW-CARD WRITING 



59 



details. Such letters as a, c, d, e, g, h and y of the lower 
case can be made eccentric to better advantage than many 
others. Fig. 61, beginning with the normal letter g, shows 
a variety of modifications of this letter. Also, several forms 
of the letter d are shown in Fig. 62 that illustrate how, by 




simply altering the curve of the stroke, the character of the 
letter is entirely changed. It would be impossible to show 
every modification of the fundamental styles of letters, as 
these exceed 800 in number, and can be seen in a type-foundry 

dd d b d 



specimen book. The principles on which these changes are 
made are comparatively few in number. It is to these we 
desire to call the student's attention. The change from the 
normal letter occurs either in distorting the regular propor- 
tions of the letter, in altering some detail, or by changing the 



60 



SHOW-CARD WRITING 



§1 



character of the letter in its stroke or outline. In Fig. 63 
several examples of the latter change is shown. Instead of 
the symmetrical outline, {a) shows how this may be utterly 
disregarded, and the serrated edge used; (d) shows the 
curved stroke, and (r) the ornamental outline of a letter. 
The inventive propensity of the expert letterer will lead him 
to create an entireh^ new detail to a letter and thus allow 
him to add this in a corresponding manner to other letters 
that will permit of its use. For example, the cross-bar in 
the letter A. may be made in the form of a cyma, which may 




also be added to the letter //. The letter A is perhaps sub- 
ject in a greater degree to modification than many other 
letters, although this may not appear to be so from a first 
glance at a normal letter. Without reference particularly to 
the styles of alphabets to which these belong, examples of 
some of the modifications of this letter are given in Fig. 64. 

95. Kxtonrted Licttcrs. — Such modifications as are 
easily and quickly made serve the purpose of the show-card 
writer. Freehand graceful curves are, therefore, to be 
sought after in making letters. To this end the letters may 



1 



SHOW-CARD WRITING 



61 



be extended above or below an entire word. An example 
of this is shown in Fig. 65. The letter S, while it may not 
extend underneath a word when used as a capital, yet the tail 




Fig. 64 



may extend a great distance to the left of the body of the 
letter without distorting the effect of its symmetrical pro- 
portions. When this is done it is always advisable to make 




some other modification that will counterbalance it in 
appearance, as shown in Fig. 66. Fig. 67 also shows how a 
stroke extending above the line may be counterbalanced by 



62 



SHOW-CARD WRITING 



^1 



a corresponding stroke that may be ingeniously attached to 
the final. vSome finals, it is true, will not permit of this 
addition. In such cases, if desirable to use some balancing 




Fig. 66 



feature, it may be done by placing it in a detached manner 
or connecting it with some projecting letter in the middle 
of a word. 



RELIEF LETTERS 

9(>. Block Shadiuiy. — A letterer who is thoroughly 
familiar with the principle of shading may give great variety 
to his work by introducing some exaggerated form of sha- 
ding, such as will bring out the letter conspicuously. This 




Fi( 



may be accom.plished by representing letters cut out of a 
thick block and placed in some position that will cause them 
to appear erect, inclined, or flat, which is done by means of 




Fig. GS 



SHOW-CARD WRITING 



63 



shading. There are several ways in which letters may be 
shown in relief. Some artists drawing on their imagination 
have placed letters 'on water above a picturesque waterfall, 
showing the reflection of the letters in the water, etc. Such 
ideas, however, are somewhat chimerical and require more 
labor and thought than a practical show-card writer would 
care to devote to this subject. 

In Fig. 68 is shown three examples of relief letters. From 
these the student may arrange letters in a number of 
positions. 

Another form of relief shading is shown in Fig. 69, in 
which the letter is made to project from an opening while 




Fig. 69 



the shade or block appears to extend back to a point where 
it is cut off by a frame. The opening being dark gives an 
excellent opportunity for strong contrast in coloring as well 
as light and shade. 



BEVELING 

97. Plain Beveling;. — When one colored card is 
mounted on another, which is often done by the card 
writer, it greatly improves its appearance if the upper, or 
even both cards be beveled on the edge, instead of being 
cut off square. When beveled, the thickness of the card 
is apparently increased, and the edge may also be bronzed 
and thereby enrich the card without causing much extra time 
to be given to the work. The beveling is easily accom- 
plished even by one who may never have had any experience 
in this line of work. It is necessary to use a beveled iron 
straightedge for this purpose and a sharp-pointed steel knife. 



64 



SHOW-CARD WRITING 



SI 



When cutting; the card the hand should be maintained in a 
uniform position that will give an angle of about 45°. 

98. Ellipses and Circles. — For beveling cards in the 
form of an ellipse or circle, it is advisable that the machine, 
made especially for this purpose, be used. This will insure 
a perfect and even bevel joining the line with accuracy. 
These figures are much used in show-card writing and serve, 
in a marked degree, to make the show-card artistic and 
attractive. It is therefore advisable that the show-card 
writer possess the beveling machine. 

99. Fancy Beveling. —There are several methods used 
for producing a deep bevel, either on the edge or in the cen- 
ter of the card. 

The beveling on the edge of the card may be done as 
follows: Measure off, on the back of the card, the width 
desired for the bevel, as shown in Fig. 70, which should be 
from 1 inch to 1 i inches; then score the card, by using a dull 




Fig 



knife that will not cut through, but will permit of bending 
the edge to the required angle without a liability of break- 
ing the surface. To join the corners accurately, make a pat- 
tern on a piece of card by cutting out a triangular piece on 
the corner that will allow the beveled portion to meet with 
a perfect joint on the proper angle, shown in Fig. 71. This 



1 



SHOW-CARD WRITING 



65 



pattern should then be used on all corners in order to insure 
a uniform and perfect bevel. A piece of tough paper should 
be glued in each corner in order to hold 
the bevel firmly in position. 

Another method, shown in Fig. 72, used 
in beveling, is to cut a square or rectangle 
out of the center of the card, and fasten a 
card that has been beveled by the fore- 
going process to the back of this opening. 
The glued strips should in this case be 
placed on the reverse side of the card, as 
the back of the former card is used as the face when placed 
in this position. The bevels of the card may be gilded or 
silvered with bronze, or a gilt or silver paper may be 




mounted on the bevels. This beveled treatment greatly 
adds to the attractiveness of a show-card if proper regard 
is paid to the inscription, design, combination of colors, etc. 



MOUNTING 
100. Purpose and Methods of Mounting:. —There are 
many occasions when mounting, if neatly done, may be 
made to deceive the eye and allow the observer to believe 
the work to be done entirely by hand. A sketchy print may 
be mounted on a card and afterwards colored, or the card 



66 SHOW-CARD WRITING §1 

immediately surrounding it ornamented so as to cover the 
edge of the mount. 

101 . Photo Mountinja:. — Photographs are also mounted 
on show-cards, which may be done by the following method: 
Place the print in a tray of clear water and allow it to remain 
long enough to become thoroughly soaked; sponge the 
card on which the photo is to be mounted with clear water 
in order that the absorbing quality of the card will be 
arrested; lay the photo face down on a clean surface after par- 
tially drying; use a sponge in applying paste, which should 
be made of gloss starch and free from lumps. Locate the 
position the print is to occupy on the card by making two 
small triangles with a sharp-pointed lead pencil and apply 
the print. When this has been laid on lightly, a clean piece 
of thin paper should be laid over the print and rubbed care- 
fully but firmly from the center to the edges. 

102. Mounting Heavy Cards. — It is necessary when 
placing one card on another to use some adhesive that will 
cling with greater tenacity than starch or flour paste. Ready- 
mixed glue, which may be obtained in screw-cap pots, is best 
adapted and most convenient for this purpose. When mount- 
ing the card, it is necessary to apply the glue to the edge of 
the card only. This is not only a saving of time and material, 
but prevents the liability of the card from warping or twisting 
when the glue has dried. In mounting small cuts or thin 
paper, library paste may be used. 



MA]VirOLDi:NG 

103. Printing^. —When a large number of cards are to 
bear one inscription or design, it becomes a matter of econ- 
omy in time to duplicate them by some other method than 
brush and hand work. To avoid the use of printers' type, 
which is recognized as such at a glance, the work must be 
produced from a freehand design. The work of printing 
may be done on a printing press, but the preparation of the 
form should be done either by the use of a zinc etching, 



§1 SHOW-CARD WRITING 67 

wood engraving, or on a lithograph stone. The etching is 
done on a zinc plate after the same has been covered with 
two coats of pure asphaltum with a small quantity of varnish 
added. When this has dried sufficiently the design is 
executed in the asphaltum after which the edges are banked 
up with a beeswax dam. Nitric acid diluted with water, in 
the proportion of one-third acid to two-thirds water, is flowed 
on the plate, which readily eats its way into the exposed 
zinc without affecting the asphaltum resistant. After the 
plate has been etched to a depth of about ih inch, it is thor- 
oughly rinsed in clear water, the asphaltum removed with 
turpentine, and, after it has been mounted on wood, the plate 
is ready to be used for printing purposes. Wood engravings 
are made on boxwood or hard maple by cutting away the 
parts not required in printing. This is done by means of 
small gravers and chisels. The lithograph stone is used in 
manifolding by placing the design on the stone with a water- 
color preparation, after which the stone is etched and other- 
wise prepared for the press. The design in all cases is 
placed on the zinc, wood, or stone in a reversed order or 
backward to that on the printed card. 

104. Use of Stencils. —For manifolding in show-card 
writing the stencil pattern very effectually fills this place, 
and is made to stencil either the letter or the background. 
The stencil for the former purpose is made by cutting out of 
paper or other material the greater portion of the letter, but 
allowing parts called tics to remain, as these tie the inside 
of the letter and parts likely to curl up when in use. A 
second stencil is also required, which is laid over the work 
done by the first stencil when it has dried, thereby covering 
up the spaces left by the ties, and thus making a solid and 
complete letter. The same rule is observed in regard to the 
cutting-in stencils, which are used to make the background, 
and leave the letters the original color of the surface on 
which the color is spread. Large ties are used for cutting-in 
stencils, reaching from the letter to the edge of the stencil 
or border. A second stencil, so cut as to overlap the edges 



68 



SHOW-CARD WRITING 



§1 



of the ties, is also used, thereby completing the entire back- 
ground, leaving the letter clear and distinct. 

105. Materials for Stencils. —The toughest medium- 
weight Manila paper should be used for stencils, oiled thor- 
oughly with boiled linseed oil, and allowed to stand at least 
24 hours before coating both sides thinly with orange shellac. 
If a light quality of fiber board is used, no preparation is 
necessary. A sheet of glass laid on a perfectly even table 
provides a surface on which the stencil can be cut with a 
good steel knife sharpened to a thin point. It is well to 
mark the ties with some bright color, to avoid cutting 
through them, as a single tie cut through destroys the whole 
stencil, and an imperfect stencil will cause more bother in 
its use than it is worth. It is best, therefore, never to use a 
patched or repaired stencil. 

106. Cutting Letter Stencils. —Fig. 73 shows one 
method of cutting a stencil; («■) shows the stencil that makes 






(c) 



the body of the letter, allowing ties to remain where most 
strength is needed for the preservation of the stencil; {b) 
shows the stencil used to cover the parts left in the first 
stencil, and {c) shows the completed letter. When preparing 
the stencil pattern {a), cut two notches on either end of 
stencil pattern where shown by d, d. The purpose of this is 
to insure accuracy in placing the stencil {a) on the surface 
of the paper when preparing stencil {b) . This second stencil 



§1 SHOW-CARD WRITING 69 

may be made by marking around the letter with a sharp- 
pointed lead pencil, or it may be stenciled with a brush that 
should be almost free from color, after which the stencil for 
the ties that were left by the first stencil may be cut out. By 
using both stencils we have the perfect letter, as shown at (c) . 

107. Baekgroiiiid Stencils. —To make stencils for a 
background, everything is reversed from the plain letter 
stencil just described. In this stencil the letters must be 
covered, and all ties so cut as to keep the letters firmly in posi- 
tion. If a border is desired, we must treat it just as we would 
a letter. The ties should be cut wider on the border edge, as 
additional strength is gained where most needed by doing so. 
In making this stencil, it is better to have too many ties than 
to leave one place weak. There is a great possibility of 
leaving one or more such places, especially in this form of 
stencil. In Fig. 74 is shown the two forms of stencil pattern 
necessary, (a) represents the pattern that stencils the body 
of the background. The lined portions indicate the parts cut 
out, the letters and ties being allowed to remain, (d) shows 
the stencil so cut as to cover up the ties that were left in {a), 
the letter being allowed to remain covered also, as in (a), 
(c) shows the finished work and the completed letters. We 
would recommend that the student make the plain as well 
as the background stencil, in order that he may become 
thoroughly familiar with the subject. Make the letters shown 
in Figs. 73 and 74 for practice 3 or 4 inches in height. 

108. Card Steuciling-. — For stenciling on a cardboard 
surface, a color should be used that is free from oil. Coac/i 
black ground in japan is the best black to use. Colors should 
be mixed with a slow-drying varnish. If an oil color be used, 
the oil is absorbed by the card and spreads beyond the edge 
of the letter, leaving a yellow streak surrounding the letter. 

Card signs that have been stenciled may be relieved by a 
few touches of hand work and made to present a very artistic 
appearance, either by shading or ornamenting with some 
bright color. The letter may be outlined with gold bronze or 
red, entirely covering all traces of a stenciled effect. 



70 



SHOW-CARD WRITING 



§1 




(a) 






(b) 




(c) 
Fig. 74 



§1 



SHOW-CARD WRITING 



71 



STORE AND WINDOW SIGNS 



INTERIOR SIGNS 

109. store Banners. — The progressive show-card 
writer should be capable of preparing every manner of 
announcement sign used in the store or window. Such 
work as gold lettering on windows, board, or other outside 
signs are necessarily outside the province of the card writer, 
and are therefore not considered in this Course. These sub- 
jects are fully treated in 
the Course on Lettering 
and Sign Painting. All 
signs that are made on 
paper or cardboard will be 
prepared by the show-card 
writer, and, besides these, 
enameled cloth and ordi- 
nary cotton-sheeting let- 
tering may not be con- 
sidered outside of his 
province. 

110. Wall Banners. 

Store banners are much 
used for permanent in- 
scriptions either to direct 
the customer to different 
departments or to utilize 
wall space with attractive 
signs that will bear some 
suitable motto or appro- 
priate inscription. These 
signs are often prepared 
in the form of a banner 

and are stayed on the back with a thin strip of wood at 
the top and bottom of the card. Window-curtain fixtures 
and other inexpensive and available material, such as rings. 




72 



SHOW-CARD WRITING 



§1 



poles, tassels, and trimming's, are used for these banners. 
The bullion fringe used on silk banners is represented with 
gold color, shaded with burnt sienna. A detailed sketch of 
this banner is given in Fig. 75. a represents the body of the 
banner on which the chief portion of the inscription is placed; 
b the hood, a very appropriate place to put the name of the 
firm; c shows where the fringe is usually placed on the 
banner. If a banner is to be placed on a white wall it is 
desirable to have the bod}^ of cream or some light color, 
while the hood should be a dark color. For example, 
if cream or gold color be used for a, the hood b should 
be a dark blue. 

111. Coiiibination Metal and Card Banners.— A 

banner that is used in our leading stores at present is a 




brass frame, silver plated, with a slot in one end through 
which a card may be slid into place. This is projected from 
a column, window sash, casement, or other convenient object 
by an artistic ironwork design, shown in Fig. 76. 



SHOW-CARD WRITING 73 



OUTSIDE SIGNS 

112. Wliite Enaineled-Clotli Signs. —It is often desir- 
able that a bulletin or other announcement be hung outside 
the store window, in which case cardboard could not be used, 
for the reason that it would not withstand moisture, either 
rain or snow, and therefore some other material that will 
serve the purpose must be used. This is found in enameled 
cloth, which is white, glossy, and durable. Show-card black 
and varnish colors may be used to letter on this surface. 
It is well to sponge over the surface with benzine before 
marking or lettering on enameled cloth, in order to prevent 
the color from creeping, which means that the color will not 
remain always where applied, but will leave a straight line 
and become an irregular and broken outline, causing much 
annoyance to the letterer. When enameled cloth is used for 
an outside sign, a frame is usually constructed of strips of 
wood strong enough only to allow the cloth to be stretched 
over the frame without bending. To prevent the possibility 
of this, which is inevitable if the sign be a long one, cross- 
strips should be placed far enough apart to give the required 
strength. The cloth is then drawn over the edge and tacked 
securely, or it may be tacked on the back of the frame, which 
is preferable when a better finish is desired, for in the latter 
case the tacks are not seen. If the following directions be 
observed, the student will have no difficulty in stretching the 
cloth on the frame without wrinkling: Lay the frame on the 
cloth and cut the cloth, allowing a margin that will lap over 
the edge and giving an additional width for tacks. Do not 
begin to tack from the corners to the center of the frame, but 
always from the center of the frame to the corners, stretching 
the cloth from the opposite side, and at the same time drawing 
it toward the corner. After four tacks have been temporarily 
driven in all four sides, continue the tacking by putting not 
more than two tacks on either side of the center at a time, 
which will serve to hold the cloth and withstand the strain 
put on it when tacking the opposite side. Endeavor as 
nearly as possible to reach the corners of the sign at the 



74 SHOW-CARD WRITING §1 

same time; in other words, do not tack one entire side before 
another, as this will invariably cause wrinkles. 

113. Sheeting Signs. —Special announcements are 
often made on material that is cheaper than enameled cloth, 
more quickly lettered, and less permanent in appearance. 
For this style of sign, common cotton sheeting is used. 
Another advantage in using sheeting is that several narrow 
widths may be sewed together, and thus a sign of large 
proportions is quickly and cheaply produced. To letter on 
cotton sheeting, use the best lampblack. Mix this with 
copal varnish and thin with gasoline to the consistency of 
cream. Apply the black with a flat camel's-hair brush 1 inch 
wide. The inscription is marked on the cloth by using 
charcoal. The lines are snapped on with a string that is 
charged with charcoal. After lettering the cloth, the char- 
coal marks may easily be dusted off the surface when the 
black has thoroughly dried. 

114. Sliow-CarclTi'anspareucies. —The advent of thin 
celluloid sheets has developed a new use of the show-card, 
namely, a window transparency. A fancy panel is usually 
cut out of the center of the card, and the celluloid sheet, of 
some brilliant color, is fastened with glue on the back of the 
card. The portion of the inscription of special importance 
is reserved for this opening. This style of show-card is 
suspended with an incandescent lamp directly behind it, pro- 
ducing a sign that may be read in the evening as well as 
in the daytime; it is especially attractive by lamplight. To 
letter on celluloid, use a solid varnish black that will make 
the letter opaque and serve as a base. After this has dried, 
the center of the letter may be filled in with gold or alumi- 
num bronze (penciled on), leaving a blank outline surround- 
ing the entire letter. The remainder of the show-card is 
lettered as usual, surrounding the panel with appropriate 
lining or ornamentation. 

115. Window Transparencies. —Another form of 
transparency that may be prepared by the show-card writer 
is the transparent window sign. This sign is designed to 



§1 



SHOW-CARD WRITING 



75 



extend across the entire width of the window, the width of 
the sign being governed by the size of letter and the inscrip- 
tion. Heavy Manila paper is used for this purpose, and it 
should be well coated with some dark color or it may be 
used without any preparation. The letters should be cut out 
and a bright colored tissue paper pasted on the back of the 
sign, entirely covering, with one thickness of the paper, all 
openings or letters. The inside portions of such letters as 
A, B, D, O, R, etc. are then fastened in their proper places, 
pasting these on the tissue paper. A heavy line of black 
surrounding each letter, placed on the Manila paper, will give 
strength where needed and make an attractive sign in day- 
light as well as in the evening. If the ground be dark, a 
heavy line of bronze may be substituted for the black. 



116. Cax'tl Electric Signs.— Many very artistic and 
attractive signs may be made of cardboard and illuminated 
with special 2-inch globular incandescent electric lamps. 
These signs are not only attrac- _ 
tive in the window display, but 
are used also for interior deco- 
rating. The letters are cut out 
of heavy white cardboard for 
this style of sign. The edge of 
the letter is covered with a 
heavy stripe of bronze, inside 
of which is worked a stripe of 
black. The lamps are then 
placed at intervals that will 
show the letter almost inde- 
pendently of the cardboard. 
The proper number of lamps Pj^ ^y 

that should be used is shown in 

Fig. 77. The framework used to hold the letters together 
should be i-inch iron rods, and painted black or some color 
that will not cause the attention to be called to this part of 
the sign. The rods connecting the frame and strengthening 
it. with the exception of the ends, should be flattened on 




76 



SHOW-CARD WRITING 



§1 



either end and looped, allowing the top and bottom rod to 
pass through it, thus making them adjustable. They may 
then be placed to the back of a letter. These signs may be 
made suitable to every season by supplying the required 
number of lamps or cutting out the surplus. 

Revolving-wheel flash signs and stationary flash signs are 
thus easily constructed if the show-card writer possesses the 
"spark of genius" necessary. 

117. Mechanical Devices in Window Lietterin^. 

There are almost numberless contrivances and devices that 
will give the card writer an opportunity to continually 
display novelties in arrangement, or to make new and 
attractive windows. Cardboard may be used for arches, 
round or square pillars, etc., on which lettering may be placed. 
Grilles and other openwork may be made by cutting out the 




M 


1 


1 


1 


1 




(n) 
Fig. 78 

parts, leaving the design. Among the novelties in show-cards 
is that which may be constructed to read difl:erently from three 
directions. This sign is made as follows: Glue strips on 
the four edges of a card that will make a tray about li inches 
in depth. On a card H times the length of the tray, minus 
I2 inches, the width of one strip, letter the desired inscrip- 
tion, which should be of large bold letters. Letter the reverse 
side of the card also; cut this into l.}-inch strips. Letter the 
inside of the tray, after which the strips may be glued in 
position 1 inch apart. The sign is then complete, as shown 
in Fig. 78, (a) showing the front, (d) the left, and (r) the 
right view. 



§1 SHOW-CARD WRITING 77 



CARD HANGERS 

118. Eyelets.— To suspend a show-card it is necessary 
that an eyelet be affixed to the back of the card. This may 
be attached without marring its face, or a small hole may be 
punched in the margin and a metal eyelet inserted that will 
prevent the string from tearing 
through the margin. The gummed 
eyelet shown in Fig. 79 is used 
for the back of the card and may 
be obtained at a stationer's in 
gross quantities. To insert metal 
eyelets, it is necessary to use a 
small combination hand punch and 

set, that will not only cut the hole the required size but 
firmly set the eyelet by upsetting the obverse end so as to 
clench it into the card. The eyelet known as the B skirt 
eyelet is used for this purpose. These are put up in boxes 
of 1,000 each. They have a burnished silver finish and are 
therefore not detrimental to the appearance of the card. 




PUNCTUATION 

119. Importance of tlie Subject. —There is seldom 
sufficient attention paid to this important subject among 
letterers, as may be observed by an inspection of the card 
signs in almost any show window. Were the show-card 
writer to realize to what extent a well-executed piece of 
work is often marred by improper punctuation, he would not 
consider the time wasted that might be devoted to acquiring 
a full knowledge of this subject. 

120. Orig^in of the Possessive Symbol. —The rt^^5- 
trophe is frequently misplaced in the plural possessive case. 
To fully understand the rule governing the possessive case 
and the origin of the mark used to denote possession, we 
should first know that the apostrophe is used to indicate that 
something has been omitted. If we should look on the fly 



78 SHOW-CARD WRITING §1 

leaf of some very old book, we would see the name of the 
owner, for example, "John Smith," and underneath, the 
words "his book," which was the early form of expressing 
the possessive. Later, it became a custom to contract the 
name and article possessed — thus, "John Smith's book" — 
and to insert the apostrophe to indicate that the his was 
omitted. By bearing in mind this simple custom, one can 
always. locate the proper place for the apostrophe, according 
to the location of the pronoun. To further illustrate, take, 
for example, the words "men's and boys' clothing." To 
use the method of our ancestors we would express it, "men 
and boys, their clothing." According to the rule, the apos- 
trophe and final ^ should be substituted for the pronoun, 
making the phrase read "men's and boys' clothing." Thus, 
the letter .? would not be necessary after the apostrophe in 
the word men's, as the pronoun t/ieir, which has no final s, is 
used; but for euphony, or to obviate harshness of sound, the 
5 is often added after many words, and also omitted from 
words ending with ^ for the same reason. 



rui.es for punctuation 

121. The period is put at the end of every word, 
phrase, or sentence that is complete by itself, and not inter- 
rogative or exclamatory. It is also placed after all abbre- 
viations. 

Quit yourselves like men. The M. D. addressed his letter to James 
Howard, LL. D. 

122. The colon is an intermediate point between the 
semicolon and the period, and is used as follows: 

1. After words that promise a series or statement of 
something important. 

His accomplishments, he said, were not many: a stout heart, a firm 
resolve, and — fifty cents. 

2. Before an important remark added to a sentence, espe- 
cially when it sums up the sentence, or presents the meaning 
in another form. 



§1 SHOW-CARD WRITING 79 

Avoid evil doers: in such society an honest man may become 
ashamed of himself. 

123. The semicolon is used to separate clauses that 
are themselves divided by the comma, or that require a 
point greater than a comma and less than a colon; or to 
separate the parts of a loose series. 

He was courteous, not cringing, to superiors; affable, not familiar, 
to equals; and kind, but not condescending or supercilious, to inferiors. 

124. The coimna is the most frequently used of all the 
punctuation marks. The chief purposes for which it is used 
are the following: 

1. To separate terms of a closely related series, or two 
such terms when the connective is omitted. 

Hedges, groves, gardens. 

It was a dark, desolate region. 

2. To separate terms that are contrasted or otherwise dis- 
tinguished, and terms of which a part in one might be referred 
improperly to the other. 

He is poor, but honest. 

3. To set off a word, phrase, or clause that is paren- 
thetic, or that comes between other parts and breaks their 
connection. 

You will then, however, be in no better condition. 

4. To set off a modifying word, phrase, or clause that is 
not closely connected with what it modifies, or that is 
removed from it by inversion. 

Behold the emblem of thy state in flowers, which bloom and die. 
By Americans generally, the hero of the Battle of Manila Bay is beloved. 

5. To set off words or phrases used independently or 
absolutely. 

Ristalfo, give me what is mine, and that right quickly. 

6. To separate the predicate from its subject, when the 
subject is very long, and has a clause, or consists of punctu- 
ated parts. 

The fact that he is allowed to go unpunished, makes him more 
insolent than ever. 



80 SHOW-CARD WRITING §1 

7. To separate clauses that are neither very closely nor 
very loosely connected. 

There mountains rise, and circling rivers flow. 

8. Short simple sentences or clauses seldom require a 
point within them; and phrases or clauses that stand in close 
connection with that on which they depend seldom require a 
point before them. 

Tell me when it was that you saw him after he returned. 

125. The interrogation point is placed after every 
complete direct question, whether it forms a complete sen- 
tence or only a part of a sentence. 

What mean'st thou by that? Mend me, thou saucy fellow? 

— Julius C(Tsar. 

126. The exclamation point is placed after a word, 
phrase, clause, or sentence that indicates great surprise, 
grief, joy, or other emotion in the speaker. 

Woe unto thee, Chorazin! Woe unto thee, Bethsaida! 

127o The dasli is chiefly used for the following 
purposes: 

1. To show omission caused by interruption. 

Cassiiis. Yet I fear him: 

For in the ingrafted love he bears to 
Caesar — 
Brutus. Alas! good Cassius, do not think of him. 

2. To show emphasis or suppressed feeling, or to show 
an unexpected turn in thought or style. 

Heaven gives to its favorites — early death. 

8. To set off a parenthetical phrase, especially when 
emphatic or when there are other points within it. 

To render the Constitution perpetual — which God grant it may be- 
lt is necessary that its benefits should be practically felt by all parts of 
the country. — Z>. Wehstcj-. 

4. Before echoes, or where the words i/iot is or namely 
are understood. 

The four greatest names in English poetry are almo.st the first we 
come to — Chaucer, Spencer, Shakespeare, and Milton. 



§1 SHOW-CARD WRITING 81 

128. The parentliesis is used to enclose some inci- 
dental remark or explanation that breaks the regular con- 
struction of the sentence and can be omitted without injuring 
the grammatical sense. 

Know then this truth (enough for man to know), 
Vii'tue alone is happiness helow . — Pope . 

129. Quotation marks are used to enclose words 
taken froin the saying or writing of another person. 

The doctor made the sage remark, "while there's life, there's hope." 

130. The apostrophe is used to denote the omission 

of one or more letters. 

'Tis pleasant, sure, to see one's name in print; 
A book's a book, although there's nothing in 't. 

— Chatterton . 

131. The hyphen (-) is used (1) at the close of a 
syllable that ends a line when the remaining part of the 
word must be carried to the next line; (2) to join the parts 
of compound words. 

132. The ditto niarlvs (") are used to avoid the repeti- 
tion of the word or expression directly above them. 

133. The underscore is a line drawn under words in 
mamiscript or copy to give them special emphasis, showing 
that they are to be printed in Italic or capitals, one line 
denoting Italic, two lines denoting small capitals, and three 
lines large capitals. 



SHOW-CARD DESIGN AND 
ORNAMENT 

(PART 1) 



INTRODUCTION 

1. Aiiplication of Design to Sliow-Card Writing. 
Designing-, as applied to show-card writing, includes many- 
forms of treatment, and therefore covers a broad field of 
study. It has its beginning when the letterer, in the slight- 
est degree, departs from a straight line in the arrangement 
of his inscription, or from a perfectly plain background on 
which he is to place an inscription. It consists of a number 
of general rules and established forms that serve as a founda- 
tion for the building of new and original ideas. Unless the 
show-card writer possesses some knowledge of the subject 
of design, his ability is limited to a mere knowledge of the 
proper formation of letters and their arrangement into words. 

Designing will ever be an art that, aside from general 
fundamental rules, involves the faculty of the artist for pro- 
ducing original conceptions and combinations. In its high- 
est and most classical form the character of its composition 
follows the style of some recognized historic period or 
school of architecture. The show-card writer's require- 
ments however are seldom of so classical a nature. There- 
fore, in the following pages, only the elementary composition 
of designing is considered. Originality must be developed 
by the student, for it is impossible for a teacher to impart 
knowledge to a student that will aid him after entering on 
this ground. 

For notice oi copyright, see page immediately following the title page ' 

n 



2 SHOW-CARD DESIGN AND ORNAMENT §2 

2. Ornament. —The subject of ornament likewise is 
treated from a practical standpoint, in order that the instruc- 
tion may be of the most profitable nature to the beginner. 
Were we to prescribe certain styles of ornament to be used 
exclusively on each particular kind of work, the student 
would soon find himself relying on the ability of others 
rather than on his own. The instruction, for this reason, 
treats on the various styles of ornament, and the forms best 
adapted to the card-writer's requirements. The student must 
then learn to make a practical application of these styles by 
suiting them to his requirements. 



1]]LEMENTS OF DESIGN 



SIMPI^E FIGURES 

3. Lines and Curves. —Aside from a straight line, a 
curved line may be said to be the first step in designing. 
There are, however, several ways of placing letters on a 
straight line; these may be vertical, inclined to the right or 
left, or they may radiate from a point above or below the 
line, as explained in Show-Card Writing, and shown in Plate, 
Title: Elementary Lines. 

4. A curved line, or a curve, is a line no part of 
which is straight; it may be imagined to be formed by the 
bending of a straight line. Any portion of a curve is called 
an arc. 

5. A circular arc is any part of a circumference. Cir- 
cular arcs having the same center, but different radii, are 
called parallel ai*cs. They are inside one another. They 
are also called concentric, which means with the same center. 

(>. When three words or lines of letters of suitable 
length are used in an inscription, the card writer often so 
arranges them that the top and bottom lines of letters are 
made to stand on curved lines. The center line being 



§2 SHOW-CARD DESIGN AND ORNAMENT 3 

straight and the top and bottom lines curved in opposite 
directions away from the center line, as shown in Fig. 1. 
To draw concentric lines, the letterer usually relies on the 
following- simple method: First ascertain the exact center 
of the card; make a small loop in a piece of hemp twine, 
sufficiently large to admit of passing the point of a lead 



CARPETS 



Fig. 1 

pencil through it; then, from a point on the lower part of the 
card as a center, describe an arc, using the finger to hold the 
string in place. Let the string slip beneath the finger in 
order to draw several parallel curves. Letters are placed 
on a plain curve either vertically or on lines radiating from a 
point called the focus. 



X 



7. A circle is a closed figure, all points of 
whose outline are at the same distance from 
a point within called the center. Fig. 2. The / \ 
term circle is applied both to the curved out- \ ' \ 
line of the figure and to the space enclosed by '\ y 

it; but the curved outline is more commonly ^^-- _.---' 

called the circiimfereyicc of the circle. ^"' - 

8. Radius and Diameter. —The distance from the cen- 
ter of a circle to any point on the circumference is called the 
radivis of the circle. 



SHOW-CARD DESIGN AND ORNAMENT 



82 



A line through the center of a circle, and having its ends 
on the circumference, is called a diameter. In Fig. 3, O is 
the center of the circle, OB, O D, OA, 
and OC are radii, AB and CI) are 
diameters. 

Every diameter is equal to two radii, 
and divides the circle into two equal 
parts, or semichrles, and the circumfer- 
ence into two semi-circumferences . 

Two diameters perpendicular to each 
other, as A B and CD, divide the circum- 
ference into four equal parts calldd quadrants. 




THE ELLIPSE 

9. Methods of Describing: an Ellijise. —There are 

many ways of making, or describing, an ellipse, some of 
which are quite complicated. For designing purposes, 
exclusive of architectural work, a knowledge of two or three 
methods will serve every purpose. The simplest method is 
by means of two tacks and 
a string. Draw a horizon- 
tal line and erect a perpen- 
dicular bisecting it; point 
off on the horizontal line 
the length of ellipse de- 
sired, proceeding from the 
perpendicular equal dis- 
tances to the right and left; 
divide the horizontal line, 
from these points to the 
vertical, into four equal 

parts; fix tacks on the third point from the vertical on either 
side; tie a string around both tacks, and fasten the ends 
together at one of the points farthest from the vertical on 
the horizontal line; place lead pencil inside and follow 
around, and a perfect ellipse will be the result, as shown in 
Fig. 4. The ellipse may be elongated by moving the tacks 




Fig. 4 



§2 



SHOW-CARD DESIGN AND ORNAMENT 




farther away from the vertical, or it may be widened by 
moving the tacks closer to the vertical. 

10. To draw the ellipse shown in Fig. 5, construct two 
squares and draw lines from the corners intersecting in the 
center of each square; from this point of intersection, describe 

arcs, with compass, from a 
to /'; from the points c, de- 
scribe upper and lower lines 
from a io a and h to b. 

11. Another simple 
method of constructing the 
ellipse is as follows: De- 
scribe two tangent circles, 
such that the sum of their 
diameters shall represent 

KiG 5 

the length of the ellipse 
and draw a horizontal line through the centers of both circles, 
as in Fig. 6; divide each 
semicircle into three equal 
parts, as at a, a, a, a, and 
draw a line from each divi- 
ding point through the cen- 
ter of each circle, meeting 
at the points h; from these 
points describe curves 
from aioa, top and bottom, 
and the resulting figure 
will be an approximate el- 
lipse. The ellipse is some- 
times spoken of as an oval. 

As applied to an ellipse the word oval is a misnomer. 
The word oval comes from the Latin word ozmm, meaning an 
egg; the shape of the oval, then, is that of the outline of an 
egg. To speak of an egg-shaped oval, therefore, is an 
absurdity, and no more sensible than to speak of a circle as 
a round circle. 




SHOW-CARD DESIGN AND ORNAMENT 



S2 



THE PANEI. 



ITS USE IN DESIGNING 

12. The Rectangle. —The elaborate panel has its 
beginning in the plain figure called a rectangic, shown in 
Fig. 7, a four-sided figure having only right angles; a 

right-angled parallelogram. 
From this beginning, lines are 
added until the panel becomes 
a work of art. It is not essential 
that this growth be considered 
step by step, but every detail that marks the transition from 
the rectangle to the elaborate panel finally used as a design 
will be contained in the examples given. 

13. Panel Ends.— We will first call attention to the 
methods of finishing the end of the panel. Fig. 8 {a) shows 
a perfectly plain panel and its plain outline; (d) shows a 



Fig. 7 




(a) ^^ 



Fig. 8 

plain panel, the outside of which is slightly ornamental; 
(f ) represents an ornamental inner panel, while the outside 
is perfectly plain; (d) is an example of an ornamental out- 
line, with the ends of the inner panel finished as a scroll, or 
in imitation of a ribbon. 

14. Combination Panels.— Two panels of entirely 
different shape and character are often used in designing; 
the one in the foreground is made to bear the inscription, 



§2 SHOW-CARD DESIGN AND ORNAMENT 7 

while that in the background is given less prominence. 
In Fig. 9 (a), a. diamond-shaped panel is used as the one 
on which the inscription should be placed; {d) represents 




Fig. 9 




Fig. 10 




Fig. 11 



8 



SHOW-CARD DESIGN AND ORNAMENT §2 



the panel on which the body of the lettering- should be 
placed, while the shield or upper panel of this design may 
also be used for a trade mark, price mark, or other purpose. 
In dealing with the panel for designing purposes, the nature 
and importance of the inscription must be considered. The 
interior panel may be made extremely ornamental, as shown 
in Fig. 10, or the reverse may obtain, and the entire attention 
may be given to elaborating the surroundings of the panel, 
as in Fig. 11, which illustrates a plain panel surrounded by 
an ornamental design. 

15. Part Panels.— Another form of panel is that which 
is combined with some other design, in which the panel is 
not in the foreground. When the panel is left unfinished on 
one end, as in Fig. 12, it is known as a part panel and 
many beautiful effects can be produced by its use. In this 




style of panel the damask principle may be used, the panel 
being blended into the ground by using the lettering brush 
or by stippling with the end of a stiff hair brush. The 
lettering is also blended; the extreme of light color is thus 
contrasted against the darkest part of the panel, and the 
dark lettering is continued on the light ground outside of 
the panel. This principle illustrates one of the essential 
elements in designing; namely, to make the strongest lights 
come directly in contact with the darkest shades. If several 
shades of equal strength are combined in a design, the 
tendency is to weaken the general effect. 




Fig. 14 






.4 r^^ ^^-\\ ^t-4s- J 



Fig. 15 



§2 



SHOW-CARD DESIGN AND ORNAMENT 



9 



16. Rococo Panels.— A panel much used by the 
designer of lettering inscriptions is one that may be made 
to fit any irregular space; it may be made to correspond 
in the general arrangement and design of its ends, thus 
making a balanced design, or, it may be made without regard 

to uniformity. This is 
known as the rococo 
panel. It is especially 
useful to the show-card 
writer, being easily and 
quickly constructed; its 
outline is made with one 
continuous brush stroke. 
Fig. 18 shows this style 
of panel. Its unlimited 
application rests with the 
versatility of the letterer. 

17. Relief-Scroll 

Panels. — In Fig. 14 is 
shown a panel that serves 
much the same purpose as 
the foregoing. This panel, 
known as the relief-scroll 
panel, is often so elabo- 
rate in design and composi- 
tion that the entire inscrip- 
tion can be placed within its 
outlines. The relief scroll 
is based on the natural 
form of the acanthus leaf, 
but it is idealized into a 
great variety of forms. In 
the following few sugges- 
tions, Fig. 15, the elements of the relief scroll are given. 
Arrange these in a relief design, introducing the leaf and 
other features where they properly belong. The student 
should not expect to be able to construct a relief ornament 




10 SHOW-CARD DESIGN AND ORNAMENT §2 

and shade it properl}^ without considerable practice. (Grace- 
ful curves are an important element in the construction of 
this ornament, and, in fact, in all freehand ornamentation. 
Therefore, one who possesses the ability to draw symmet- 
rical curves is better qualified to execute the relief ornament, 
which is considered to be the most difficult of all styles 
to master. 

RIBBONS 

18. The Several Forms of tlie Ribbon. —The ribbon 
is used in many forms, and can be made to suit almost any 
style of inscription by folding- or extending. When folded, 
the part representing- the back of the ribbon is called the 
return, and must be shown by color or shading. The ribbon 
is made either in a regular curve or with irregular and 
broken edges. Fig. 16 shows the ribbon in some of its 
many forms; the names of its component parts are: a, the 
bow; b, the broken band; r, the regular band; d, the return- 
ing band; e, the streamer; and /, the roll. 

19. The ribbon is used also in a square or geometrical 
form, shown in Fig. 17, in which case the graceful and nat- 
ural wave does not enter. This form of ribbon is chiefly 
employed in conventional or set designs. 

20. The most graceful and symmetrical design of the 
ribbon is in the form of the double ogee curve; when so used 
both ends must be made precisely the same in outline. The 
fold can also be made in the middle of the ogee, as shown 
in Fig. 18, without distorting its symmetrical effect, but 
rather giving it ease and grace, which should always be the 
aim of the designer. 

21. ShadiniT tlie Ribbon.— To make the shading of a 
ribbon appear natural, always observe the natural law of 
light and shade. If the light strikes on one part <^f the 
ribbon, the opposite side corresponding with it must neces- 
sarily be in shadow. 

The study of light and shade is the first requirement in 



§2 



SHOW-CARD DESIGN AND ORNAMENT 



11 



designing, and has been considered with reference to individ- 
ual letters in Show-Card Writing. In designing, as in drawing 
from nature, strict adherence to this law is absolutely neces- 
sary; the slightest disregard of it is noticeable to the skilled 




Fig. 17 



eye. We have seen the advantage of shading single letters 
to the left, and it is well to practice the shading of designs 
on the left also, in order to avoid such mistakes as are likely 




to occur by showing a shade on two opposite sides of an 
object or of several objects when they are combined in 
one design. 

22. Reflected Liprlit.— In the shading of ribbons or 
any rounded object, the principle of the 
reflected light must be observed. By 
it is shown the edge or line which, with- 
out the observance of the principle, 
would be lost where the darkest shaded 
parts come together. Fig. 19 shows 
this principle of reflected light, the 
greatest strength of the shade being 
somewhat removed from the extreme 
edge of the object, as at a, while the 
shadow cast by the object itself is strongest against the 
edge at h. 




Fig. 19 



12 SHOW-CARD DESIGN AND ORNAMENT ^ 2 



PRACTICAL DESIGNING 



INSCRIPTION DESIGNING 

23. How to Arrange an Inscription. —A show-card 
writer is confronted with all kinds of combinations of words in 
inscriptions. It should be one of the chief ends of his educa- 
tion in lettering to be able to fit the inscription to any required 
size. He should also possess a comprehensive knowledge of 
the almost unlimited forms of arrangement that make it pos- 
sible to design the card, so that it will be neat and artistic as 
well as legible. To do this it is necessary that the words of 
greatest importance should be most conspicuously brought 
out in the inscription. When this is accomplished, the desired 
end in show-card writing has been attained. 

24. Straigrlit-Jjine Arrangement. —There are two 

general methods of arranging the wording on a show card. 
If there is a considerable amount of matter, it may be lettered 
in a uniform style of capitals and lower case in the same form 
as printed matter, or it may be arranged in the form known as 
the display ad, discussed under Art. 25. The straight-line 
inscription may be made of capitals throughout, and it may not 
be necessary always to follow the printer's rule of beginning 
all lines at the left margin; sentences may end at any point. 
The first few words, if especially important, and the final line 
also, may be placed in the center of the card without detri- 
ment to the appearance of either inscription or design. 

25. Display Arrangement. — In this method of design- 
ing the inscription, first draw a light vertical line through 
the center of the card and place the lettering equally on 
either side of it. In the display ad, several lines may be 
occupied without giving any special consideration to uni- 
formity in the style of the alphabet selected, or the size oi 



§2 SHOW-CARD DESIGN AND ORNAMENT 13 

letter used, so far as their relations to the appearance of the 
work are concerned. The vertical line should be drawn 
through the center of the card in order to guide the letterer in 
placing a word exactly in the center. This is accomplished 
by counting the number of letters in the word, or, if more 
than one word occurs on a line, by counting also the spaces 
between the words, allowing the width of one letter for each 
space, and balancing the total number of letters and spaces 




31100 




^^]vr> 





pit; 

Is Unegualted 

BY 

Y8UR TAILBR 

Fig. 20 

equally on either side of the vertical line, as shown in Fig. 20. 

This method is also used when the inscription is composed 
of words that may be suitably arranged in curved lines. 
These are made to balance by observing the center vertical 
line, as shown in Fig. 21. The space between the curved 
lines should be equal on either side of the central vertical. 

The proper selection of various styles of freehand letters 
is essential to the speed of the show-card letterer. If letters 
consisting of rounded strokes be selected, they may be 



14 



SHOW-CARD DESIGN AND ORNAMENT 



J^2 



executed much quicker than letters having many angles. 
For example, the third line of Fig. 20 is in the style known 
as Full Block; it is a letter seldom used by card writers, 
because not quickly made. While this is true in regard to 



It 










Fig. 21 



letters, it is likewise true in regard to the studied arrange- 
ment of the lines of an inscription. An elaborate design 
may be used when the occasion requires, but to save the 
extra amount of labor and time necessarily spent in making 



^ 



^Negligee 



'"^X^i 




n 



CiP. 



<7,Qiy^ 



(jreat\4riet y 
^v^i^y. of t^atierns. 



Shirts, 



O 



-<! 



Fig. 22 



an accurately balanced design is greatly to the advantage of 
the card writer and his income. He therefore resorts to the 
following method, when the wording is of such a nature as 
to permit of the use of the freehand arrangement: 



SHOW-CARD DESIGN AND ORNAMENT 



15 



26. Freehand Arraiig:einent. — Fig. 22 illustrates the 
style we have chosen to call the freehand arrangement com- 
posed of straight lines only. This style requires no observ- 
ance of a center balancing line. It is necessary, however, 
that due regard be paid to a uniform margin line for begin- 
ning and ending words, also that the first and last lines of 
the inscription be at equal distances from the top and bottom 
edges of the card respectively. The expert show-card writer 
never marks out the letters for this arrangement. 




Thur.,MAYO 




Fig. 23 

27. Freehand Curved Lines.— The freehand arrange- 
ment is not confined to straight lines, but the inscription 
may also be constructed entirely of curves, in w^hich case it 
is only necessary to balance the inscription equally in the 
center of the card by simply giving heed to the uniformity 
in width of margin. Fig. 23 shows an example of the style 
of curves used in this arrangement. It is not advisable, 
however, always to use curves throughout an inscription. 
A combination of straight lines and curves gives the same 
results and avoids the confusion and irregularity in general 
effect that arises from too many curves. 



16 



SHOW-CARD DESIGN AND ORNAMENT 



§2 



LOCATIOM OF 1N8CKIPTION 

28. A Coniiium Erroi*. — The bet^inner is usually of the 
opinion that the entire space on the card should be covered 
with letters. This, however, is not the purpose of the show 
card. The inscription is never of such a nature as to require 
letters so large as will not permit of a liberal margin. The 
observer is usually not more than 10 or 15 feet from the sign, 
and small letters may be easily read at this distance, espe- 
cially if the letters be made clear and distinct in outline and 
in such styles as are most suitable to the inscription. Our 
leading show-card writers carry this idea almost to its 
extreme limit without impairing the appearance of the card 



Latest- ^ 
^^ Hesi^ns. 



or depreciating its value as a show card. We would, there- 
fore, urge on students the imperative demand for neatness 
in their work, and the necessity for margins on the card suf- 
ficient to allow a small space within the stripe. The stripe 
should be made at least 1^ inches from the edge of the card. 
Fig. 24 shows the comparative location of an inscription 
composed of two or three words. 



29. An Emphatic Word. — If an important single word 
requiring special prominence occurs in the inscription, as, for 
example, the name of the maker or the name of an article, 
the word may easily be made prominent, while at the same 



§2 



SHOW-CARD DESIGN AND ORNAMENT 



17 



time the general effect of keeping- the body of the inscrip- 
tion the desired distance from the edge of the card may still 
be preserved. 

Fig. 25 illustrates this style of design. The fine-line stripe 
may surround the design, being omitted only when it would 
otherwise come in contact with the lettering; or, the stripe 
may be merely suggested in the upper left- and lower right- 
hand corners of the design — according to the nature of the 
inscription. 



^Ss 



sr/e^^jSriri:-^-^ ^ 



/l^ade fro rr) ±1)6 ■j^arr)oas~ 
^o 1 Ae o^^vS 5 e al" 





/he /nv;ii u/Aele<^<mi€ 

-Breakfast R)oA 



30. Diverse Ti-eatnieiit. — It often happens that a num- 
ber of words in the inscription need to be given special 
prominence, while a large portion of the matter is purely 
descriptive and therefore may be put in one style of small 
letters. With this kind of inscription, the letterer may give 
the words the form of a design by embellishing the principal 
lines of letters, or he may prepare his sign with no attempt 
at artistic designing, using plain letters only. Fig. 26 shows 
two designs bearing the same inscription: {a) the plain 
lettered sign, and (/;) the inscription arranged in the form 
of a design. 



18 



SHOW-CARD DESIGN AND ORNAMENT 



§2 



In the latter case, the strong contrast of the black ground 
and the white cut-in letters repays the writer for the extra 
time required in thus treating the inscription. 



Jfje prices c\)Q,rged for 
Ry^s at tljis sale are 
rjot equal to tFjose asked 
by tlje rug dealers, but 
are irj keeping witfj tfje 
prices of i\)\s store. 



lasH'iEgst'Ca 




Tt)e Price5 
cl^arged for Ru^s &t 
t[)i5 5a>le are pot equal 
to i\)ose asked by f\)e 
rug dealers, but are ip 
keepir)^ wiflj t{?e prices 

of tljis 5tore. 



£ 



HASTINGS & Co. 



<a) 



(b) 



Fig. 26 



31. Selection of Alphabets. —The selection of the 
most appropriate style of letter to be used is a subject 
that should be given careful consideration. The letterer 
should have the various styles of letters so fixed in his 
mind that when given an inscription to design he may be 
able to give to every word the particular style of letter best 
adapted to its length, to the combination of its letters, and 
to its relation to the other lines of the inscription. This the 
letterer cannot hope to do until he has had considerable 
practice and long experience in lettering. To provide him 
with those styles of letters most commonly used is the pur- 
pose of the plates of alphabets to be drawn and sent in to 
the Schools for correction. In the following alphabets, 
however, styles less frequently used are given. A student 
who has become proficient and has ability to draw the regu- 
lar plates of the Course will experience no difficulty in 
executing any of these added styles. Practice these alpha- 
bets during your leisure moments, and in a short time you 



o 



t3 









c 


■ 
■ 

i 
1.4 


■n 


HI 


It 




-■1 


■■ 


^1 


■■ 


r 


■- 


^1 


!■■ 


■ill 


in 


■IM 
^1 


IB- 


», i" 


^ 


!^.- 


-■1 


«■ 


^1 




-■1 


Ml 


-■1 


MB 






.■I 


Ml 


-■1 


MH 


.■1 


1 

n 


■■1 


m 


"-■1 


w 


mH 


Bll 


11 


BIH 


■1 


BB- 




^ 


BB. 




BBB 


■■ 


BBB 


L . 





BBBBB 


BBBBB 


II 


II 


i?^ 


BBBi 


IBBI 


2 


lb 


L^lli 


BflL^B 


TT 


A 




BBBB* 
•BBB. 


BBBBB 


BBBBB 



o 



fODl 












§2 SHOW-CARD DESIGN AND ORNAMENT 19 

will find that you have memorized the details of construction 
in every letter of the various alphabets now in use. These 
plates will be found valuable for reference purposes, and, for 
this reason, they should be kept close at hand when the 
student is designing". 

SUPPLEMENTARY ALPHABETS 

32. Full Block. -This style of letter is suitable for 
headings, or for a short single word. Perhaps no style of 
letter is so little used as this, and yet the card writer, to be 
thoroughly prepared to meet every requirement, should 
at least possess a knowledge of the construction of this 
letter. By following the few general rules given, the Full 
Block letter may be made freehand. First, note that the 
width of the letters generally is equal to their height; also, 
that the stroke and the space between horizontal strokes are 
equal. The length of the spur is equal to one-half the width 
of the stroke. The inside and outside bevels should be 
parallel and the distance separating them should be the 
same as that given to the width of the stroke. The bevels 
begin one-fourth the width of the stroke above or below the 
horizontal and reach to the vertical, thus avoiding too great 
an angle in the construction of the letter. By always observ- 
ing these few rules, the letterer will find it unnecessary to 
use ruled lines for Full Block letters, except when absolute 
accuracy is required. 

33. Half Block.— This style of letter, like the Full 
Block, is mechanical and composed 
of many angles; it is, therefore, 
seldom used. Its practical appli- 
cation is confined mostly to that 
feature of designing known as 
aitting in. While a round letter 
may be made more quickly than 
any other style when lettering in 

the ordinary way, the angular letter with its many bevels 
is made with greater rapidity when cut in. The card writer 




20 SHOW-CARD DESIGN AND ORNAMENT §2 

ma\' add spurs to the corners of the Half Block, thereby 
relievintj the letter of its severe ]:)lainness; when so relieved, 
it is classified as Antique Half Block. Fig. 29 shows how 
these spurs are added to the side bevels as well as to the 
corners of vertical strokes. 

34. Anticiue Egyptian ( Jjif>-ht) . — This style of letter, 
shown in Fig. 30, is an extreme light-face treatment of the 
normal Antique Egyptian letter. It is especially useful to 
the show-card writer when the inscription calls for a small 
neat letter on a black or colored card. No style of letter 
answers such a purpose so admirably as this. Great care 
must be given to its execution, in order that the proper 
uniform width may be maintained in the stroke, that the spurs 
may be made small and sharp-pointed; also, that the curved 
strokes may be made symmetrical by merging the rounded 
part gracefully into the horizontal stroke. The student 
will find it necessary to devote considerable time to the 
practice of this alphabet before he is able to use it to advan- 
tage in show-card writing. Few styles of letters are subject 
to modifications in so many points as this. The alphabet 
entitled Eccentric Egyptian is so closely allied to this style 
that the student is not required to prepare this one as a lesson 
to be sent in for correction. The corrections made on the 
Eccentric Egyptian plate will also apply, in a general way, 
to the errors usually made in this plate by a beginner. 

35. Old Elnjiiisli. — The need is occasionally felt by the 
card writer for a style of letter that will serve the purpose 
of a heading or give variety to the inscription. The Old 
English letter, shown in Fig. 31, is an excellent one for such 
purposes, because of its ornamental character, and also on 
account of the simplicity of its formation. The letter is com- 
posed of crescents, cymas, and straight lines. It is a letter 
that may be easily memorized and one that may be made 
with great rapidity. The Old English alphabet is capable 
of the most beautiful effects in color treatment. The capital 
maybe highly illuminated by paneling or ornamenting, while 
the balance of the line, or the lower-case letters, may be 






lU 

z 




f 






o 
at) 








I 





H ^ ^ 





S^^t 




^ 







f 










^ 




'^' 



H 



^ 











§2 SHOW-CARD DESIGN AND ORNAMENT 21 

blended and shaded by a great variety of methods. This, 
however, requires time and study, and card writers are gen- 
erally satisfied to include this among the list of styles for 
occasional use only. In order that the writer may acquire 
versatility in inscription designing, we recommend that he 
give much practice to this style of letter and prepare him- 
self to execute the capitals and lower-case letters by a careful 
study of each letter until he finds it unnecessary to refer to 
the copy. 

It is not necessary to dwell on the great economy in time 
gained from a perfect familiarity with the details of the for- 
mation of every alphabet used. The letterer should experi- 
ence no delay in his practical work by being compelled to 
refer to the printed copy. We suggest, however, that this 
knowledge cannot be obtained without constant practice. 

36. Engrossing:. —These alphabets are known as Rund 
Schrift (Round Script), or round writing, and are illustrated 
by means of Fig. 32. They are especially adapted to the 
automatic shading pen. The letters are made up of vertical 
strokes, cymas, and crescents. The vertical strokes are cut 
ofiE on an angle of 45°, showing the natural incline of the 



Fig. 33 

pen when forming this style of letter. The pen is maintained 
in the same uniform position throughout the alphabet. By 
referring to the first letter A, the right and left crescent is 
seen, also the point where the maximum thickness of the 
stroke occurs. The crescent is reduced to a fine line, and 
this is approximately on an angle of 45°. 

The heavy line of the letter, made by the grooved part of 
the pen, should always be to the right side of the stroke; the 
shade and heavy lines are drawn with one stroke of the pen. 
In making this letter, draw all strokes by beginning at the 
top and drawing the pen downwards. It requires but little 



22 SHOW-CARD DESIGN AND ORNAMENT §2 

practice with the pen in order to bear on it with a firm, even 
pressure that will produce an unbroken stroke. Special 
inks, of several colors, are prepared for these shading pens, 
and so mixed as to give a transparent shade. Fig. 88 shows 
the style of pen used; also, the angle at which the pen 
is inclined. 

37. Shippers' Box Mai'kiug;. — While this style of 
letter, as shown in Fig. 34, is known as a box-marking style, 
it is nevertheless a convenient letter for use in card writing. 
This letter may be made with great speed. The stroke, 
although shaded, is made with one downward movement 
of the brush, especially in the lower-case letters. Some of 
the capitals require two strokes of the brush when making 
the shaded part. This style of letter inclines about 80° to the 
left of the vertical. The right outline of the stroke follows 
this incline, while the left outline, beginning at the top with 
a fine line, swells into an ogee curve, giving the stroke its 
maximum wddth, one-fourth the height of the letter from the 
base line. The chief characteristic of this alphabet lies in 
the graceful curves that form the details of the letters. 

38. Frencli Roman (Light) . — Included in the drawing 
plates is the French Roman, also shown in Fig. 85, the 
normal letter of this style, and therefore the prototype of 
the light-face letter. This alphabet is an eccentric form of 
letter, and like the Antique Egyptian (Light) is especially 
used on a black or colored card. The letter when used on 
a dark card is usually white, and for this reason an artistic 
light-face letter is chosen for the purpose. This letter is 
subject to greater modification than is shown in the copy. 
The lower-case letters of the normal alphabet are used with 
this letter, but should be greatly reduced in the stroke in 
order that perfect proportion may exist when they are com- 
bined in the form of an inscription. We advise the student 
to study this alphabet in connection with the normal, that he 
may be better able to compare the details of both styles and 
see wherein they differ. When constructing this letter, it is 
essential that all spurs be made needle-pointed and that a 



u 



t 



^t/5 



* 

■^ 
m 



0^ 



I 



oO 



^ CS fi M 









•^r 



E 
CD 



hox^ 



Q 

ID/ 
CQ 



< 



5^^ 

d^*^ 
^hN 

":)(/) 









® §p-^" 






CO '^ 



<3 



§2 



SHOW-CARD DESIGN AND ORNAMENT 



28 



uniform width be given to the stroke; also, that the Hght 
Hne be made one-third the width of the stroke. 

39, Gothic. —This style of alphabet, see Fig. 36, was 
created during the closing centuries of the Medieval period, 
and is associated historically, as well as in its outline, with 
the ogival, or pointed arch, which at this time existed in the 
Gothic architecture. For illuminated capitals there is no 
alphabet that gives so classical a touch to a design as the 
Gothic, although Old English is often used for this purpose. 
But the elements of construction in this style of letter better 
fits it to the panel, in which illuminated capitals are often 
placed. Gothic is so seldom used in card writing that it 
would be necessary for the letterer always to have the 
plate before him for reference when constructing a Gothic 
inscription. 



INDEXES 

40. Metliod of Construction. —Aside from the knowl- 
edge of alphabets, nothing is so important in show-card work 
as the index hand. For directing the attention to some 




Pig. 37 

specialty, or the customer to some department, the index is 
indispensable. It is obvious, therefore, that the card writer 
should thoroughly understand the principles on which it is 
constructed. The rule by which the index is proportioned is 
so simple that when once understood the student need never 
experience any difficulty in laying out a right or left index 
from memory. 



24 SHOW-CARD DESIGN AND ORNAMENT ^2 

In Fig. 87 are shown the points of construction and their 
proper location, by which an index of any size may be drawn. 
The distance from a, or the end of the forefinger nail, to b, 
the center of the knuckle, is equal to that from /; to c and 
from a \.o g; also, to that from / to the top of the coat sleeve. 
The distance from d to e is equal to that from j to k, g to 
/, c to //, and // to /. To locate these points properly, the 
student should draw a horizontal line tangent to b. By 
means of this line the points a and c may then be located, 
as they are at equal distances below this line and also 
equidistant from point b. The points a and c being found, 
it is easy to draw the curves of the top of the finger and the 
back of the hand. It is necessary to keep in mind the incline 
of the line from a to g, which should be at an angle of 25°. 
The width of the finger at d and the thumb at e are equal, 
and one-half of that from d" to e. 

With these measurements fixed in the mind, the outline 
of a perfectly proportioned index may always be constructed 
from memory. Fig. 38 shows the proper location of the 
shading in the index. In order that the hand may appear in 
relief, strong shades should be made where these are shown 
in the figures; otherwise, the index will appear flat and lack- 
ing in strength. The shading will also serve as a guide 
when painting the index in natural colors. 



THE EYE 

41. Drawing tlie Eye. —Nothing so attracts attention 
as the human eye. It has been said that "the eye is the 
window of the soul." But the show-card writer can make 
this the soul of the window if the drawing and harmony of 
coloring be of such a character as to cause a striking simi- 
larity to exist between the natural and the artificial. If the 
student desires to engage in show-card writing as a profes- 
sion and to solicit the patronage of tradesmen generally, he 
should be able to design every principal feature used in 
the different trades, or by merchants. The eye, spectacles, 
shoes, teeth, mortar, horseshoe, cigar, fish, bird, etc. are 



§2 



SHOW-CARD DESIGN AND ORNAMENT 



'25 



-^--\>v,^ 



among the most common things that a card writer should be 
capable of drawing and painting without reference to any 
copy. In Fig. 39 an outline sketch of the eye is given, 
showing the proper proportions and location of the several 

details. The length of the eye, 
or the distance from c to d, is 
twice the width, or the distance 
from a to b. The color disk e, 
or cornea, of the eye should be 
drawn so as to be tangent to 
the lower lid, and should 
extend somewhat underneath 
the upper lid. The diameter of 
the pupil / should be a little 
more than one-third that of the 
cornea, although this is not arbitrary, as the pupil is subject 
to great variation when acted on by light. The white surface 
on either side of the cornea y", 7, known as the oiitcr cantlins, 
should be equal in area. The small, partly enclosed portion 
d is known as the uine?- canthus. The reflected light g, or 




Fig. 39 




iris, is usually made wedge-shaped; it may, however, be made 
rectangular with small points or rays on either edge. The 
upper lid is marked by the line //, while the marks //, ii below 
the eye represent the location of wrinkles often seen in the 



26 SHOW-CARD DESIGN AND ORNAMENT §2 

marking's of the eye. The proper length and location of the 
eyebrow is seen at /. With these few guide lines, the student 
should experience no dilBculty in constructing a properly pro- 
portioned eye. In Fig. 40 the eye is shown fully shaded. 

42. Coloi'iuj? the Eye.— After tinting the entire por- 
tion surrounding the eye a flesh color, blend this into the 
background so as to avoid sharp edges of color. The sha- 
ding of the eyelids, wrinkles, and eyebrows shovild then be 
completed. Burnt sienna, black,, and blue are used for this 
purpose. The eyeball, or white of the eye, should then be 
laid in. Make this a bluish white and shade where the 
upper lid would cause a shadow to natvn-ally fall, using blue 
and black for coloring. The inner canthus should be tinted 
with red. The cornea may be a blue, black, or brown, with 
the strongest shades above and below the pupil, blending 
this in lines radiating from the center of the pupil. The 
pupil should invariably be black and glossy; the iris should 
be clear white. After the eye has been otherwise com- 
pleted, the eyelashes may be penciled on, as shown in 
Figs. 39 and 40; also, the penciling of the eyebrows and 
other retouching done in a manner that will give clearness 
and artistic finish to the work. 



SHOW-CARD DESIGN AND 
ORNAMENT 

(PART 2) 



INTRODUCTION 

1. Value of Examples. —Every workman, especially in 
the art branches of industry, realizes the necessity for exam- 
ples of practical treatment that will aid him in designingo 
We are told that Shakespeare had no teacher; that is to say, 
that his style was that of a master. Yet, it is true also that 
he possessed the broadest knowledge of the achievements of 
others. For similar reasons, a show-card writer cannot attain 
a thorough mastery of his art unless he is familiar with every 
form of designing ordinarily employed. He may then rise 
above the common level of the plagiarist and be able to 
create or compose practical designs suitable to his require- 
ments. Such should be the aim of every student. It is the 
man with original ideas who is always in demand. 

In the following pages we have endeavored to furnish the 
student with material that will be suggestive in a valuable 
way, as well as give him instruction in the various forms of 
applied design. With a knowledge of these subjects a 
student should be fully prepared to execute any kind of 
designing and lettering likely to come within his province 
as a show-card writer. 

For notice oi copyright, see page immediately following the title page 



SHOW-CARD DESIGN AND ORNAMENT ^3 



APPLIED DESIGN 



FORMS USED IN CARD WRITING 

2. Trade-Mark Designs. — In the preparation of a trade 
mark or emblem there is great opportunity for display of 
skill both in the general arrangement and in working out the 
details of the composition. In the example chosen, Fig. 1, 
the article advertised is a certain style and make of shoe that 
the manufacturer desires to set before the public as possess- 
ing merits peculiarly identified with his make. In the trade 
mark, therefore, lies an opportunity to present in symbols 
that which might be stated plainly in words, if the design 
and classical feature of the inscription arrangement were to 
be given no consideration. The design used for the example 
is purely on the heraldic order. The lion is used as sym- 
bolical of strength; the helmet is used to bear out the name 
of the shoe, Armor Plate, indicating protection, and the 
eagle is used to signify buoyancy. Embodied in the trade 
mark, therefore, are the chief qualifications of the manufac- 
turer's product: strength, protection, and buoyancy. 

The plain inscription of the design is made to fill the space, 
and such styles of letters are chosen as will best serve this 
purpose. The long stroke of the letter M, partly enclosing 
the trade mark, the added curved fine line enclosing the 
small letters, and the dash attached to the letter .y (affording 
opportunity for variety in the lettering) all tend to make the 
design compact and easily read. 

3. Permanent Designs.— One of the most practical 
features in show-card writing is the adoption of some set 
design for the card by which the public will soon learn to 
associate the card and its message with the firm or store 
using it. 



^3 



SHOW-CARD DESIGN AND ORNAMENT 



. The design may be placed in one corner, leaving the bal- 
ance of the card for advertising matter, as shown in Fig. 2. 
The design may be made on white paper and reproduced 
by the photoengraving process. The cards could then be 
printed. Any kind of press will answer. Another form of 
the permanent design is that used at the top and bottom 
of the narrow card, leaving the entire center of the card for 
advertising matter. This style of design is very popular. 
It not only forms an ornamental feature of the show-card, 
but likewise keeps the name of the firm constantly in the 




Fig. 2 

public eye. Fig. 3 illustrates the manner in which this style 
of design is used. When such a design is employed, there 
should be no striping' or other ornamentation on the card, 
for this would detract from its artistic effect. The lettering 
should be small and neat, occupying the center of the space 
and leaving a liberal margin both above and below it. 

4. Illustrative Desijarniii^. — To give variety to a win- 
dow display and break the monotony of a number of plain- 
lettered cards, the most attractive feature that may be used 
is the illustrative sketch. The use of this form of artistic 
designing is limited only by the originality of the show-card 



SHOW-CARD DESIGN AND ORNAMENT 



^3 



writer. Fig. 4 shows a simple application of this method of 
advertising in which the illustrating is of a witty character. 
To call special attention to the sale of some particular 
garment or other article, it is often necessary to illustrate in 
such manner as will impress the observer, either by the art, 
the ridiculousness, or the wit displayed. 

There are always op- 
portunities for display- 
ing the ridiculous, and 
perhaps nothing is more 




^OSOM Ff,,^^^ 




Fi«.3 Fig. 4 

effectual in attracting attention than this style of illustrating 
when well done. If this be accomplished by using such 
subjects as are common or well known, the greater will be 
the advertising value of the illustration. If the window 
display be made in the interest of the millinery department, 
such an illustration as that given in Fig. 5 could be used. 



§3 



SHOW-CARD DESIGN AND ORNAMENT 



ThefvI 



JKT^rD 



f^jnv- 




TnIcd^/v^ 



Fig. 5 



showing the earhest known 
form of head gear in compari- 
son with that used at present. 

5. Figux'e Designs. —The 
human figure, used in a sketchy 
manner, is coming more and 
more into favor with the card 
writer and is made practical in 
several ways. It is not neces- 
sary that it should be colored, 
although it greatly improves the 
sketch to lay in the design with 
flat tints; that is, plain, even 
colors, without making any 
attempt at shading. 

A figure design may be most 
ingeniously fitted to the inscrip- 
tion and be placed at one corner 
of the card; or, if the card be 
rectangular, a figure, such as a 
fashion plate, may be placed at 
either end of the card, arranged 
in vertical panels. These figures 
may then be colored to suit the 




6 



SHOW-CARD DESIGN AND ORNAMENT 



§H 



character of the sketch. If the sketch be light, a dark back- 
ground for the figure may be used; if the figure be dark, a 
bronze or colored background should be chosen. Fig. 6 
illustrates this style of design. 

6. Fifyiii'es in Relief. —A head may be sketched on a 
card, cut out to the outline, and fastened on the back of the 
card bearing the inscription, so that the head and bust will 
project above the card. This style of show-card can be 




made very artistic. To add to the attractiveness of the 
feature it may be put to practical use by employing it as a 
form. Stocks, neckties, fur boas, veils, gloves, fans, hats, 
etc. may be fitted to the sketch and many very pleasing 
effects produced. 

Men's heads are likewise used, as shown in Fig. 7. 
To them may be attached several styles of neckties, the 



So 



SHOW-CARD DESIGN AND ORNAMENT 



style of collar being outlined in the sketch. The heads 
may be projected far enough above the card to permit the 




use of scarfs or ties, not so 
long, however, as to cover the 
inscription on the card. 

7. Cut-Out Designs. 

A further application of the 
art of designing leads us to 
consider the subject from 
another standpoint. There 
are numerous articles in 
almost every class of mer- 
chandise that may be pre- 
pared in the form of a sign. 
This may be accomplished 
by outlining the article and 
cutting it out. It may be shaded to represent more closely 
the object desired, and lettered by placing the inscription 




Fig. 



8 



SHOW-CARD DESIGN AND ORNAMENT ^3 



in some open space, or the lettering may cover the shaded 
parts. The shirt, shoe, lamp, stove, hat, and coat are 
a few of the many articles that may be cut out with good 
effect. There are also seasonable emblems in great variety 
that may be used for this purpose. Father Time, with his 
scythe, representing the closing year, and the little winged 
messenger representing the arrival of the new year; Santa 
Claus, as shown in Fig. 8, the time-honored emblem of 
Christmas; and the turkey during the Thanksgiving season, 
are among the more common figures that may be cut out and 




Fig. 9 



shaded either in black and white or in natural colors, as 
desired. It is always preferable for the shading to be done 
in such a manner as will bring out the object in strong relief, 
even though it be dark enough to require a white letter 
for the inscription. Fig. 9 shows the comparative strength 
of the shade and the markings necessary to represent the 
Thanksgiving turkey. 



§3 



SHOW-CARD DESIGN AND ORNAMENT 



COMPOSITION OF A DESIGN 



NATURAL FORMS USED 

8. Flo^vers. —Several varieties of flowers may be made 
quickly that greatly add to the appearance of a fancy show- 
card. To embellish the card with such material as will, with 
the fewest touches, produce the most artistic effects, is the 
desire of every writer. The design that requires much study 
on account of a great amount of detail is practically worth- 
less in show-card writing. Such flowers, therefore, as the 



(HAMBERS(0 




(hicago. |ll. 



Fig. 10 



rose, carnation, daisy, primrose, violet, apple blossom, wild 
rose, etc. furnish the best material for floral ornament. 
Flowers are usually made a part of such designs as that 
shown in Fig. 10. In order that the floral piece may have 
a substantial and finished appearance, strong natural shades 
are employed, and these are varied in color to suit the 
harmony of the work. 

9. Acorn and Oak Leaves. —Certain natural forms are 
especially adapted to ornamentation, such as the oak leaf and 
the acorn. In the furniture trade, if the article advertised be 
an oak piece, such an ornament could be ingeniously used in 
many ways, either within the inscription, suggested in one 



10 



SHOW-CARD DESIGN AND ORNAMENT §3 



corner, or in opposite corners in the form of a border, as 
shown in Fig-. 11. The design or suggestion should harmo- 
nize with the object with which it is associated. 




^^^^^ 



10. Holly. —During the holiday season the show-card 
writer can make use of the holly for ornamental purposes. 
With a knowledgfe of the form of the leaf and the other 
details of a spray of holly, he should be able to arrange this 
in any form to suit his requirements. In Fig. 12 is given a 




Fig. IJ 

spray of holly, showing- the character of the leaf, location of 
the berries, etc. 

11. Pine Coiu'.— The pine cone is used for ornamental 
jjurposes in various ways. It is produced with fewer brush 



8 8 



SHOW-CARD DEvSIGN AND ORNAMENT 



11 



marks than any other style of ornament, requiring no draw- 
ing before executing with the brush. It is used to fill an 




open space in a design, or is located as a floral piece might 
be. In Fig. 13 is shown the pine cone wath spray of pine. 

12. Palm and Palm BraiicAi. —The palm, on account 
of its graceful and artistic leaf, and the light and shade 




1898 




OPENING 



effects that may be produced by its use in ornament, is 
exceedingly valuable to the designer. The highly colored 
and artistic jardiniere may also be utilized, and most 



12 



SHOW-CARD DESIGN AND ORNAMENT 



beautiful ornamentation produced by their joint use with the 
expenditure of comparatively little work or time. In Fig. 14 
is shown some of the natural positions of the leaves; also, 
the light and shade effects that make this plant valuable 




Fig. 15 

material to the designer. The cycas palm branch, on account 
of its symbolic significance, being used as an emblem of 
victory, joy, merit, or preeminence, is most common among 
the forms of ornament with which a card writer should be 
familiar, and he should be prepared to apply these when the 
occasion requires by a practical knowledge of their for- 
mation. Fig. 15 shows the cycas palm leaf. 



ORNAMENT 



VARIOUS STYLES AND APPLICATION 

13. Cornel- Ornament. —The ornament, as applied to 
card writing, has its simplest beginning in the corner piece. 



R^ 




There are many ways in which the ornamental enters into 
the arrangement of the stripe to give relief to the plain 



§3 SHOW-CARD DESIGN AND ORNAMENT 13 

angular finish. It may be used in connection with the stripe 
or made independent of it, as shown in Fig. 16. By using a 
heavy stripe and fine line, the corner piece may be greatly 
elaborated. But, for all practical purposes, the simpler this 
is made, the more useful and effective is it in show-card 
writing. Among our leading card writers the metal and 
embossed paper corners have spinmg into great popularity. 
The former are fastened on the card with small gimp tacks 
and are easily removed for further use. The embossed paper 
corners are glued on. In both cases they are made to repre- 
sent a gilded ornament; the stripe is joined to the ornament 
as though it were a part of it; this may be of bronze to 
correspond with the corner, or it may be white, black, or 
made of some bright color. 

In Fig. 17 is shown the metal corner, which is almost 
identical in appearance with the embossed paper corner. 
In Fig. 18 is shown the paper corner, also the elaborate 
center design, which is likewise of embossed paper. These 
paper designs are used as centerpieces, corner pieces, and also 
for price-mark panels. Fig. 19 {a) and (d) illustrate some of 
the designs furnished in embossed paper, also the manner in 
which these are applied. The dark panel is made by laying 
on the ellipse or panel where desired and marking around 
the inside with a lead pencil. India ink is then used to coat 
the surface overlapping the mark, and then, by pasting the 
design on the paper, a substantial price mark is produced. 

Aside from the price marks shown, there are several 
styles of ornaments used for decorating. These are made 
of embossed gilt paper and are easily attached to the card. 
Some suggestions are given in the figure, showing their prac- 
tical use. In Fig. 19 (l?) also is shown a variety of embossed 
papers used for decorating purposes. These are furnished 
in gold and silver, and are especially useful for bevels, panels, 
etc. In the same figure is also shown a variety of embossed 
bands used for borders as well as for bevels. 

14. Centerj)iece Ornament. —Where the first line of 
an inscription is curved, a space between it and the second 



14 SHOW-CARD DESIGN AND ORNAMENT §8 

line is left, especially if the latter be a prominent line and 
extends across the card. It is necessary that this space 
should contain some form of ornament that will relieve its 
plainness and counterbalance the lower portion of the 
inscription. There are a great many styles of ornament that 
may be used for this purpose, but the simplest forms are 
always the most practical and will give added value to the 
inscription. It is not the purpose of ornament in card 
writing to make this so conspicuous as to attract special 
attention. The inscription is of paramount importance, and 



the ornamentation should be of secondary consideration. 
In Fig. 20 is given one style of ornament that may be 
elaborated to a very great extent by the addition of lines. 

VARiors i)?:siC4NS 

15. Elliptical Designs. — In Fig. 21 is shown a form 
of ellipse made to imitate pearls. To relieve the design of 
plainness, the bow and streamer ribbon are added to the top, 
while this is counterbalanced with broad striping and fine 
lines run across the card, apparently behind the ellipse. To 
produce the opaque gray, reduce the lettering white with 
water until it becomes almost transparent. Such designs 
should be lettered with a small neat letter, using Roman, 
French Roman, a light-face Antique Egyptian, or script, as 
shown in the figure. 

The ornamental ellipse, shown in Fig. 22, is made by cut- 
ting out a pointed ellipse of the size desired and using 
it in the form of a stencil pattern. Rub on dry color 
with the chamois skin; after this is dtMie, find the center 




Fig. 22 




Fig. 2.S 



§3 SHOW-CARD DESIGN AND ORNAMENT 15 

of height of the figure and construct four ornaments 
similar to those given in the example. The card may be 
lettered in black or in colors that will harmonize with the 
dry color used on the background. In the figure the back- 
ground color is blue, the letters are Indian red with vermilion 
capitals, which make an excellent combination. A cream 
center, with gold bronze ornamenting and a black letter 
would also be a most harmonious combination and make a 
very rich-appearing show-card. Bright water colors may be 
spattered on the card while the stencil is in position, thus 
protecting the white border. A tooth brush is generally 
used for this purpose. 

Another freehand ellipse design is shown in Fig. 23, in 
which the center is treated with the semiopaque white. The 
ornament that encloses the panel is variegated, beginning at 
the narrow end with cream color; it is blended gradually into 
a deep red at the opposite end, thus causing the extreme 
colors to meet at either end of the ellipse. 

In making this style of panel, care should be exercised to 
make the ground color an even shade, and to keep this dark 
enough to make the white letter prominent on the panel as 
well as on the black card. In order that the ornament may 
be sharp and clear, it is well to highlight it, using a cream 
color for the piu'pose. 

16. Pictorial 81lo^v-Cal•(ls. — For general advertising 
purposes, especially if a large number of cards be required 
bearing the same design and inscription throughout, the 
trade mark, or suitable picture, may be used. This may be 
done by hand or they may be cut out and mounted on 
the card. The border surrounding the picture may then be 
painted, giving the entire work the appearance of being 
hand painted, as shown in Figs. 24 and 25. When a white 
card is used, there is excellent opportunity for the card writer 
to use ribbons and panels in the design that will give variety 
to the work, and enable him to bring out conspicuously that 
portion of the inscription that should be given most promi- 
nence. A panel may be painted with water-color black, and 



16 



SHOW-CARD DESIGN AND ORNAMENT 



§3 



afterwards lettered with white, or it may be cut in with 
show-card black, in which latter case the letters are made 
sharper. 

If a panel be desired on a black card, it is advisable that 
this be cut out of white card and mounted on the black. 
A panel may be made by stripin^j, and the letters within the 
panel be made of red outlined with white or other bright 
color. Script letters are quickly made and are suitable to 
many inscriptions, especially such as that shown in the figure. 

17. Movmted Panels. — In Fig. 26 a disk cut out of gray 
photo-mounting cardboard is mounted on a white card and 



M0NR0E/ 



^ RANGES 



Fig. 27 

lettered with a white letter, which makes a strong contrast 
with the black letters composing the balance of the card. 
This form of show-card is subject to great variety of treat- 
ment and may be made very attractive by using bright- 
colored cards, as sea green, blue, maroon, or red. 

18. Imitation Ileliof Liotters. —The illustration given 
in Fig. 27 represents a relief-letter show-card. Where the 
inscription is composed of one or two short words, such a 



§3 



SHOW-CARD DEvSIGN AND ORNAMENT 



17 



card sign may be made quickly and gives a pleasing and 
attractive effect. The card should be lettered in an even tint 
of medium strength, after which it may be highlighted with 
white or a tint of the color used. 

Another form of relief letter is made by representing a 
flat surface with beveled edges. This, however, is not so 
quickly done, two colors being 
required; also, the drawing of 
the bevels on the letters re- 
quires more study than the for- 
mer style of bevel. In Fig. 28 
is given an example of the 
latter form. 




> 



Fig. 28 



19. Fancy-Edge Cards. 

There are many ways by which 
the show-card may be elabor- 
ated, either by using a uniform 
design, as shown in Fig. 29, or 
by serrating the edge by pla- 
cing the card between two 

pieces of board and sawing the edge with a large-tooth saw. 
A serrated-edge white card, mounted on a larger black card, 
makes a very attractive finish. The attention of the student 
is directed also to Fig. 29, with reference to the style of 
ornament used to embellish the inscription. 

In making this style of freehand ornament, it is not neces- 
sary to sketch it out, but it may be made at once by using a 
large shading brush, giving graceful curves to the stroke. 
A darker shade of the same color may afterwards be employed 
to line the edge of the stroke, producing the effect of a care- 
fully studied ornament. The choice of a color for such an 
ornament should depend on the colors used in lettering and 
shading. 

20. Panel Cards.— A panel in the center of the show- 
card gives an excellent opportunity for the display of any 
important part of the inscription. The panel may be of a 
different color from the background, or it may remain the 



18 



SHOW-CARD DESIGN AND ORNAMENT 



S8 



same color. In Fig. 80 is given a form of panel showing 
the curled corner that gives a natural and artistic effect to 
the design. Attention is called to the manner in which the 
edge of the card is finished; the broad color is light cream, 
and the fine-line stripe at the edge of this is burnt sienna. 

Another form of panel card is shown in Fig. 81. In this 
design the important words of the inscription occur outside 
of the panel. A striking contrast is made in the use of an 
orange vermilion red outlined with white. The panel is made 
by using a color, somewhat darker than the gray cardboard, 




Fig. 32 

on the shadow sides of the bevel, and white made semitrans- 
parent on the other sides. The center is filled in with India 
ink, on which white letters may be placed. 

In Fig. 82 is shown a style of panel that is made by run- 
ning a band of opaque color around the card, leaving a 
center of white la inches from the edge, and making the 
panel of a size suitable to the inscription as well as the orna- 
ment employed. In the example, the spray of roses is used 
as suggestive of the spring opening. The color is clouded 
in with a darker shade of the color used for the ground. 
The flowers are then ])ainted in broad and efifective colors, 



§3 



SHOW-CARD DESIGN AND ORNAMENT 



19 



giving a strong natural shade made from the same color as 
the ground. 

21. Ribbon Borders. —The bow and streamer ribbon 
are used to serve a twofold purpose in the example given in 
Fig. 33. It not only relieves the black card of its severe 
plainness because of its ornamental character, but it also 




Fig. 34 

forms a border. The double ribbon is often made to extend 
around the entire card, or it may be used as in the sketch in 
opposite corners only. 

22. Ai)i)roi)riate Ornaiueiitinjj:. — In Fig. 34 is given 
an example of an ornament suited to the inscription — an end 
that may often be attained by the use of a harmonious design, 
such as an ornamental trade mark or other appropriate 



20 vSHOW-CARD DESIGN AND ORNAMENT ^3 

illustration. In the example, a double-line ornament is used 
that is similar to the ornament used for embroidery. It is 
therefore suitable as a practical example as well as service- 
able for its utility as an ornament on the show-card. 

23. Novelties in Sliow-Card Designs. —A great many 
suggestions might be offered along the line of novelties, but 
such examples are found on every hand, and it only remains 
for the progressive and alert show-card writer to make 
practical application of them. In Fig. 35 is given a design 
and inscription suitable to a china or crockery store. The 
large hinges, of the antique variety, should be made of dead 
black; that is, black made to dry without a gloss. The bolts 
are represented by the use of gilt paper rosettes. The panels 
on gray card are easily made by using a lighter and a darker 
shade than that of the card. Thus, a paneled door may be 
shown with little work, which serves the purpose of the 
letterer in placing the inscription on the card to good 
advantage. If reference may be made to the door, it adds 
interest to the design and attracts more attention. 

Another form of appropriate design in advertising show- 
cards is that shown in Fig. 86. In this design the tight 
board fence is employed, which gives an excellent oppor- 
tunity for the space on which to place the inscription. In the 
example chosen, the announcement being especially in the 
interest of the boys, the heads of two boys (that may be 
quickly and roughly made) appear above the fence in an 
inquisitive manner, and thus add life and attractiveness to 
the show-card. Such signs as the foregoing naturally require 
a little more time for their preparation than the plain lettered 
card, but their value is increased as a display advertisement, 
and the results experienced by the merchant stimulate his 
interest in the show-card as a most profitable medium in 
attracting and securing trade. 




V4^ ^J 




'^kxy^^ 'T' ui 



P051 



PECL 



ACTI 

THIS WEE 



■*^"^'f 



WM 



eJDartment, 



Fu;, 3U 




Fig. 37 



1^ 





Fig. 38 



§3 



SHOW-CARD DESIGN AND ORNAMENT 



21 



PRICE TICKETS 
24. Novel I)esiji:ns. — As the price mark plays a most 
important part in the usefulness of show-card writinqf (many 
merchants confining their demand for card writing exclii- 





'l ^//////////////////////m 



To-Ordetl 



15^00 



7 



-I 



<fe«0««»»««K«»5«<5«<«5««»»5»«««««»«5«^ 




Fig. 39 



sively to this style of work), it is necessary, therefore, that 
this subject be considered both in regard to designs as 
well as to the manner in which the lettering may be executed. 
There are two mechanical means by which the price ticket 



22 SHOW-CARD DESIGN AND ORNAMENT J^ 3 

may be made, that is to say, two appliances aside from the 
lettering brush. One is the air pencil illustrated in S/iotv- 
Card Writing, an example of which is given in Fig. 37; the 
other is the automatic shading pen also described in the 
same section. A price ticket showing the use of white on 
black, as well as black and colors on white, is likewise 
shown in Fig. 37. 

The simplest forms of price ticket made are the square, 
rectangular, the diamond-shaped, and the disk. These are 
quickly cut out, and are therefore the most profitable style 
to furnish to the trade. The plain white figure on a black 
card is most conspicuous. For this reason a smaller card 
may be used, of the kind shown in Fig. 38. 

It is often desirable that the price ticket serve the purpose 
also of giving emphasis to the price by stating the quality of 
the article or other descriptive matter. These cards may 
contain so much wording as to take a place between the 
price ticket and the show-card, as shown in Fig. 39. 

In Fig. 40 is given a style of card much in demand, espe- 
cially for "marked down" or "reduction sales," in which the 
former price is somewhat in the background. 

Ribbon designs are a popular form of price ticket and 
these may be made with a simple scroll or return of the 
ribbon, or they may be elaborated to suit the inscription by 
the use of water colors, as shown in Fig. 41. 

In Fig. 42 are given several examples of price tickets on 
which the name of the dealer or firm appears, which is often 
required in the show-card and price ticket. 

Fig. 43 illustrates a number of designs that may be used 
as price tickets, some of which are cut out in the interior of 
the design. To accomplish this it is necessary to lay the 
card on a thick piece of glass and to use the point of a sharp 
pocket knife. 

There is unlimited opportunity for fancy and special designs 
suitable to the various classes of business and the different 
goods advertised. There are also many symbols that are 
used to express an idea that may be taken as a pattern for 
the price mark. In the several examples shown in Fig. 44, 




Fig. 40 







Fig. 42 




Fig. -i-.i 




Fig. 44 



§3 SHOW-CARD DESIGN AND ORNAMENT 23 

this idea is illustrated in the use of the horseshoe and four- 
leaf clover, symbolical of good luck; the mortar, also, as 
the sign used by the druggist; the fan, as suggestive of hot 
weather, is in harmony with the inscription it bears. The 
shoe makes an excellent price mark for a shoe dealer. 

The ornamental feature shown in the square card is of a 
style that could be easily stenciled on in two colors, using 
green for the wreath and red or umber brown for the ribbon. 
The stencil pattern could be utilized also in many ways for 
borders and designs as well as the figures. 



INSCRIPTIONS FOR SHOW-CARDS 

25. Some Sugfgestions. — As a rule, the inscription is 
furnished with the order for the show-card, but in many 
cases the customer relies on the ability of the card writer to 
assist him in wording the inscription; or, he may be 
depended on entirely for the arrangement of the reading 
matter. The card writer should be prepared with a scrap 
book well filled with all manner of catchy and up-to-date 
phrases and expressions. There are abundant resources on 
which to draw for pithy and pointed ideas along this line, 
and that first-class writer is most in demand who is always 
ready to meet the requirements of his customer. 

There is no better way to advertise and attract the atten- 
tion of the masses than to prepare some novel idea or 
scheme in the inscription of a sign or show-card that will 
bear repeating purely for its wit or eccentricity. In Fig. 45 
is given an example of a parody on Edgar Allen Poe's well- 
known poem, and is especially applicable to a jev/eler. 

There are many phrases that have grown hoary with ser- 
vice, and any change that will express the same idea is 
welcomed by the public as well as the merchant. For 
example, Holiday Novelties, Santa Claus Headquarters. 

There are such well-known phrases as are employed by 
our persistent patent-medicine advertisers that are often 
turned to other uses, as follows: 



^4 SHOW-CARD DESIGN AND ORNAMENT §3 



<^0 




§3 SHOW-CARD DESIGN AND ORNAMENT 25' 

The "Life Principle" is found in our ginger phosphate. 
"For that tired feeling" try one of our rattan porch chairs. 
"For that dry feeling" try our ice-cream soda. 
"For that wet feeling" try one of our $1.50 umbrellas. 

Then, there are the general stock phrases that may be 
used for any class of goods, as follows: 

If these goods interest you, the prices are sure to. 

Speaking of strikes, how do these goods and prices strike you? 

While they last, only ( ) each. 

These are the goods advertised— 'nuf said. 

You may fool some of the people all the time, and you may fool all the people 
some of the time; but you cannot fool all the people all of the time.— Abra//a>n Lincoln. 

Reflection. — There are at least some of the people that know a. good thins when 
they see it. 

We bought them at a bargain; you may do the same. 

These goods have never been advertised; the excellence of the goods 
is sufficient. 

"As comfortable as a feather bed in an ice house" — one of our 
flannel summer suits. 

There are also tricks in lettering and punctuation that are 
deceiving at first sight, and if ingeniously executed will 
attract attention and cause much comment. For example, 
an old worn shoe could be placed in the show window and 
the card referring to it lettered as follows: 



WHAT! DO YOU THINK 
NAPOLEON AT WATERLOO? 



Fig. 46 

The exclamation and interrogation points entirely change 
the apparent meaning of the inscription. 

Then, there are those commonplace expressions that some 
may choose to turn to advertising purposes. Whether this 
is considered to be in good taste is not for us to question. 
Examples of such expressions are as follows: 



26 SHOW-CARD DESIGN AND ORNAMENT §8 

"There are a few." 

Our price is right, "It's up to you." 

"This is a peach" of a bargain. 

In the latter case the cloth, cotton-padded imitation peach 
may be fastened on the card above the inscription. 

There are numberless pithy phrases that may be made 
directly applicable to one particular line of goods. In pre- 
paring such inscriptions an excellent opportunity is often 
presented to make the phrase most attractive because of its 
direct application to the thing advertised. A few examples 
of such phrases are given in the following: 

Sensible Summer Suitings, 

vSeason's Superb Selections. 
Going Away? 

Take along a camera; it will add to the pleasure of your outing. 

He'll stay at home evenings if you buy him one of these house coats. 

Ready-to-wear garments for ready-to-buy customers. 

If you endeavor to duplicate these suitings elsewhere, keep the price 
in mind also. 

You'll never have the nightmare if you sleep on one of these 
brass beds. 

You'll welcome cold weather if you possess one of these overcoats. 

A bargain is no stronger than its weakest point. 
These are all strong points: 
Low Prices, 

Superior Quality, 

Durability in Make, 

Excellence in Finish. 

If you would linger longer, you could no longer linger with one of 
our 59c. ALARM clocks. 

Say! are you aware that the best ware to wear is our triple- 
plated WARE? 

You "get it right in the neck" when you wear our neckwear. 
No trouble to show goods; it makes it less trouble to sell them. 
In serving you well today, we insure your trade tomorrow. 
To be rubbered well, buy a pair of our pure gum rubbers. 
You are poorly shod when you buy the shoddy. 



§3 SHOW-CARD DESIGN AND ORNAMENT 27 

"Brevity is the soul of wit"; it is also the secret of success 
in show-card inscriptions. The card writer knows the advan- 
tage gained in this in the saving of time in lettering short 
inscriptions. To use several words to explain a thought that 
might be expressed in one or two words often destroys the 
pointed and pithy effect that might otherwise be produced. 

Illustrations often speak louder than words. A rough, 
sketchy illustration may be made to bring out the purpose 
of the window display as well as to give added attractiveness 
to the show-card. For example, a window devoted to ladies' 
bathing suits could be made most attractive by using a show- 
card on which a young lady in a bathing suit could be 
sketched in a reclining posture, on a beach. The inscription 
should be brief, as follows: 

"In the Swim." 
Great variety; all prices. 

In all cases where illustrations are used, they should be so 
designed as to express the object of the display almost inde- 
pendently of the inscription. A window of washable fabrics, 
with a picture of a woman at a wash tub, would require but 
little reading matter to convey the idea that the goods adver- 
tised were washable. 



LETTER FORMATION 



FREEHAND ALPHABETS 



PLATE, TITLE: BRUSH-STROKE LETTERS 



1. Practical Aj)plication. — As its name indicates, the 
brush-stroke letter is one whose strokes are completed 
with a single sweep of the brush. No style of letter can be 
so quickly made as this. Its use is confined mostly to the 
less important parts of the show-card inscription, and there- 
fore it is generally executed with a small or medium-size let- 
tering brush. It may be made vertical or on an incline, the 
latter being preferable on account of the additional grace 
that may be shown in the curves of many of the letters. 

2. dimensions of tlie Plate. — Note carefully the 
dimensions given in the following instruction, as these differ 
from the copy. The reason for this is twofold: First, to 
obviate the possibility of reproducing the work by tracing or 
other means, were the student inclined to accomplish the 
drawing by this process. Second, the original drawings 
were made much larger than the copy and in accordance 
with the size required in the student's specimen sheet, but 
were necessarily reduced in the photoengraving process 
employed in reproducing the plates. The letters of this 
plate, as they should be drawn by the student, are contained 
within a rectangle 15 inches long by 9 inches wide, which 
leaves a margin of 3 inches from bottom edge of paper, 
and 2i inches from either side. 

For notice of copyright, see page immediately follo7ving the title page 



2 LETTER F^ORMATION §4 

3. Spaciiij? tlie Lines. —First, draw this rectangle 
lightly with a hard needle-pointed lead pencil (which should 
be erased when drawing is completed), and beginning from 
the top line on the left vertical line, measure off the height 
of letters and the space between lines as follows: The dis- 
tance from the top margin line to the top of the first line of 
letters is f inch. The letters are 1 inch high and the space 
between the lines of capitals is f inch; that between lower 
line of capitals and the long letters of the lower case is also 
I inch. The height of the lower-case letters is t inch, and 
the space between these lines is f inch. The height of all 
titles is "1% inch. The incline of the letters is about 17°. To 
locate the title in the center of drawing, mark a line through 
the center of the plate, or 7^ inches from either vertical line 
of the rectangle; find the number of letters in the title, 
allowing the width of one letter for all spaces between 
words, and place an equal number of letters on either side 
of center line. The student should at first draw pencil 
lines on this angle until the incline has become fixed in his 
mind, when they may be discarded. 

4. fSijaoiiifi' the Fjettei's. — It is necessary for the begin- 
ner to space the letters with great care and accuracy, giving 
a uniform width to the letters and an equal space between 
them. After spacing the letters of the top lines, using points 
of the compass for this purpose, the letters of the lower 
lines may be more easily located by comparing their relative 
position with those of the top line. For spacing the letters 
with accuracy, the student will find the following method of 
great assistance: 

Divide the length of the rectangle, 15 inches, into 5 equal 
spaces, 3 inches each; also, divide the copy into an equal 
number of sj^aces, or 21 inches each. It will then be an 
easy matter to locate the letters by ])r()i)orti()n. 

5. The Brush Work. — For lettering use India ink, let- 
terine, or card black, and the No. 5 red-sable brush. Keep 
the brush well charged with black while lettering. Draw the 
strokes with a downward motion of the hand, being careful 



§4 LETTER FORMATION 3 

to observe the proper position of the hand, shown in S/iow- 
Card Writing. The stroke should be of uniform width and 
the ciu'ves made symmetrical and graceful. Draw the strokes 
in order as they are numbered and in the direction indicated 
by the arrows, but do not place these on your finished work. 
They are only for a guide in making the plate. 

6. Care of tlie Bruslies.— It is important for the stu- 
dent to take proper care of the brushes he uses that the best 
possible work may be accomplished, and that the brushes 
ma}" always be ready for use. A brush that has been used 
in letterine or India ink should be thoroughly rinsed in clear 
water, and the hairs carefully drawn to a point before it is 
put away. If card black be used, cleanse the brush in ben- 
zine or turpentine, after which the brush should be dipped in 
kerosene oil, and partially wiped out on a piece of cloth. 
Always rinse the brush in benzine or turpentine before using 
again, in order that the kerosene, which is an undrying oil, 
may be entirely removed. 

7. Ho>v tlie Woi'k Should Bo Sent In.— After com- 
pleting the brush work, use India ink and an ordinary steel 
pen, that has not been used in writing fluid, for printing the 
date on which the work was completed (this should be 
placed in the lower left corner of the plate); your individual 
class letter and number, also your name, place in the 
right corner. Enclose the plate in mailing tube and send 
it- to the Schools for correction. 



PIRATE, TITLE: CONDENSED EGYPTIAN 
8. Practical Application. —As this style of letter is 
composed of plain, straight, and curved strokes, exclusively, 
it is considered by letterers to be the simplest form of letter 
to construct, aside from the brush-stroke alphabet. It is a 
letter quickly made, easily learned, and most profitable to 
the show-card writer for all general purposes. In this alpha- 
bet the student is given practice in outlining letters, and an 
effort is made to develop his ability to carry these lines 



4 LETTER FORMATION §4 

parallel and, at the same time, maintain a uniformity in the 
width of the strokes. This practice is especially necessary 
at this time, and of great advantage to the student. If the 
outline of a letter be correctly made in this respect, it is an 
easy matter to fill in and complete the letter. This Egyp- 
tian letter is said to be normal when the height and width 
are equal. The card writer having little use for the normal 
letter, the condensed alphabet has been chosen for study 
and practice. 

CAPITALS 

9. Spacing tlie Lines for Capital Letters. —Con- 
struct a rectangle 15 inches long by 9 inches high, leaving a 
margin 2^- inches on either side, and 3 inches from the bot- 
tom edge of paper. Beginning on the left vertical line, 
measure off from the bottom line 2 inches, which gives the 
height of the letters. Allow a space of 1 inch between the 
lines of letters and the same above top line of letters. 
The height of the letters of the title is f inch. The stroke 
of the capital letter is f inch wide, extreme measurement. 
The width of the outline is "i^ inch. 

10. Spacing tlie Letters. —Use the points of the com- 
passes and set these to the width of the letter //, which is 
I4 inches wide, as a basis of measurement. The rounded 
letters exceed this by i inch, and the E and F are i inch 
narrower. As absolute accuracy is not essential in the pro- 
duction of the show-card, we recommend the student to 
observe the relative width of letters more than the exact 
measurements. For this reason the width of letters will be 
given in proportion rather than in inches, or fractional parts 
of an inch, using the width of a stroke in determining their 
limits. The letters A and M are about two-thirds of a stroke 
wider than //; the letter L is two-thirds of a stroke narrower. 
V is the reverse of A, and therefore of the same width. W 
is two strokes wider, and A' and )'are one-half stroke wider 
than //. Make all interspaces equal, or as nearly so as 
possible. 



§4 LETTER FORMATION 5 

11. Tlie Brush Work. —Vertical and curved strokes 
should be made with a downward movement of the brush. 
Horizontal strokes should be drawn from left to right. 
Always avoid pushing the brush, but make the lines by 
drawing the brush to a point, thus keeping the hairs of the 
brush together, which will insure a perfect line. Use the 
No. 5 red-sable rigger. Do not bear on it when drawing 
the brush, but allow the point of the brush only to touch the 
paper. This will insure a uniform stroke of the required 
width, and make a line most suitable to the size and style of 
brush used. 

It is necessary, in order to become thoroughly familiar 
with each style of alphabet taught, that the student practice 
each letter a number of times, endeavoring on each subse- 
quent trial to show a marked improvement on former 
attempts. Therefore, do not consider the lesson learned 
even though the completed plate be executed in a satisfac- 
tory manner, and has even merited a high percentage. 
Continuous practice has its advantages that will surely bear 
fruit when the student makes a practical application of the 
knowledge he has acquired. 

12. Details of the Letters. — Note carefully the fol- 
lowing important points in regard to the details of the 
letters, so that when given an inscription wherein this par- 
ticular style of letter may be used, it will not be necessary 
to refer to the copy in order to ascertain the correct forma- 
tion of the letters: 

1. The cross-bar of the letter A should be drawn the 
width of a stroke above the base line. 

2. Make all outlines in the order in which they are num- 
bered in the first three letters of the alphabet. Other letters 
may be made by referring to these, for in them is embodied 
the principle on which all letters are constructed. 

3. The middle stroke of letters /T and F is one-half the 
length of the upper stroke. 

4. The cross-bar of letter // is one-half stroke above the 
center of the letter. 



LETTER FORMATION 



§4 



5. When outlining such letters as //, M, N, and W, 
always make the two strokes that limit the width of the 
letter first, beginning with the left side. When drawing a 
condensed letter, O or Q, be careful to make the space within 

the letter elliptical. 

6. The lower portion 

of the letter .S" is made 

larger than the upper, 

by extending the stroke 

to the left of the body 

P'^- 1 of the letter. 

7. Always keep the two points of contact that occur in 

the outline of letters Af and W on a horizontal line, as 

shown at a and b, Fig. 1. One is inclined, when lettering 

freehand, to make them otherwise. 




LOWER CASE AND NUMERALS 

13. Spacing the Lines for Liower Case and 
Numerals. —Draw the rectangle the same size as that 
required for the capitals, allowing the same margin also 
from edge of paper. Beginning at the lower left corner, 
measure off on vertical lines the height of the numerals, 
2 inches. Then, ^ inch above this, draw another line, which 
gives the length of the long-stroke letters. The height of 
the lower-case letters is H inches; including the long strokes 
they are 2 inches, which is the height of capitals. The 
space between the body of the lines of lower case is 
If inches. The titles throughout the plates are s inch 
high, which measurement will perhaps not be referred to 
again during your Course. 

14. Spacing the ^Letters. — The general width of 
letters is \^ inch, or about the width of a capital letter 
less the width of one stroke. This is important to observe 
in making the lower-case letters, especially when they are 
combined with the cai)itals in an inscription. The width of 
the stroke is 1 inch, extreme measurement. The space 
between letters is equal to the stroke of a capital letter. 



§4 LETTER FORMATION 7 

The space between rounded letters and slanting-stroke 
letters should be estimated from their closest points. 
The total area between letters should be considered. If 
this be equalized, the spacing will always appear accurate, 
even though some letters may almost touch one another and 
others be removed some distance. The top of the letter w 
should be equal in width to the letter m at its base. These 
letters are two strokes wider than other normal-width letters. 
The second line of letters is li inches from the vertical line 
on either side. 

15. Spacing- tlie Numerals. —The stroke of the 
numerals is f inch, or equal to that of the capital letters. 
The width of the numerals is If inches, using the maximum 
width of figure 2 as a basis of measurement. The rounded 
numerals exceed this somewhat, while figure 7 is a trifle 
narrower than figure 2. To locate these in their proper 
places, set the compasses at 3 inches and divide the length 
of the line of numerals into 5 spaces. Divide the length of 
the copy into 5 spaces also, making them 2i inches each. 
It is then an easy matter to space the numerals accurately 
by proportion. 

16. Details of the Letters. —The width of the outline 
in the lower-case letters is made a trifle less than that of the 
capitals. The same brush may be used, however. Note the 
following instruction with reference to the details of letters: 

1. The middle stroke of letter a, where joined to the ver- 
tical line, is on an incline and should not be curved. 

2. The lower portion of the letter g should be a little 
wider than the upper part. Do not carry this to either side, 
but always place it directly underneath the upper part of the 
letter. 

3. The letter / is the only letter beveled at the top of 
the stroke. 

4. The lower extremity of the stroke of the letter y is 
carried to the left on an angle of about 45°. 

5. The middle stroke of the figure i is a full stroke below 
the center of the figure. That of .9, o, 6\ 6' is about one-half 



8 LETTER FORMATION §4 

stroke above the center line, and that of the i) is one-half 
stroke below the center. 

17. Shadinj>: of the Numerals. — It is our purpose to 
give the student such practice as will not only familiarize 
him with the letters, but enable him also to apply the dif- 
ferent forms of treatment in lettering^, as well as shading. 
For that reason, we require him, on completing the outli- 
ning, to shade the numerals with what is known as the natural 
s/iai/e — the plainest shade employed. Use the water color 
labeled charcoal gray; rub a little of this color in one of the 
water-color dishes, being careful to make the shade light 
rather than too dark. Use the No. 8 red-sable CoIu)nbia, 
and with this proceed to shade the figures. Make the shade 
one-half the width of the stroke and allow a space between 
the shade and outline of the figure of a little more than the 
width of the outline. Make the shade from all points on an 
angle of 45°. 

PLATE, TITLE: HEAVY EGYPTIAN 

18. Practical Application. —No style of letter is 
better suited to water-color treatment than the heavy 
Egyptian. It is seldom made a solid letter by filling in 
with black, but is usually outlined, and the space within the 
outlines filled in with transparent water colors. Lower-case 
letters or numerals never accompany it, and they should 
never be used in connection with it. 

19. Spacing- the Eines. —Construct a rectangle, as 
heretofore instructed, lo inches long by 9 inches wide, leav- 
ing equal margins on either side. Beginning at the lower 
left-hand corner, measure off on the vertical line the height 
of the letters, \h inches. Above this point lay off f inch, 
the width of space between the lines of letters. Repeat 
this operation, making 4 s]Daces for letters and o spaces 
between them. 

20. Si)acinj«: the I.,etters. — The width of the letters 
generally is K inches, using the letter H as a basis of 




n_rt 



ini 



Fig. 2 



M4 LETTER FORMATION 9 

measurement. The rounded letters, such as O and Q, are 
]- inch wider than this, and none are narrower. On account 
of the eccentric projections that occur in many of the letters, 
the student must proportion the width of the letter exclusive 
of these, recognizing only the main body of the letter. 
There are many exceptions to the general rule governing 
the width of letters on account of the extreme width of the 
stroke, and any arbitrary rule relative to their width in other 
alphabets cannot be given for this. Divide the plate, as 
heretofore suggested, into 5 equal spaces of 3 inches each; 
also divide the copy into 5 spaces of 2l5 inches; this will 
more readily indicate the proper location of the letters and 
the spaces between them. 

21. The Briisli Work. — Waterproof India ink only 
should be used on plates that are to be colored with water 
colors. Use the No. 5 red-sable brush, and, when out- 
lining, note carefully all details of each letter. The spurs 
should be needle-pointed. The end of strokes are curved 
somewhat, thereby giving the letter a more graceful appear- 
ance. Make the vertical lines extend their full length. 
Do not make the spur large; the smaller this is, the better 
it will suit this style of letter. Make all curves symmetrical; 
do not exaggerate them. In many cases they are only 
slight ogee curves. Make the strokes of the letters of 
uniform width. 

22. Colovins: the Letters. —After the plate has been 
outlined and all pencil marks erased, color the letters, as 
follows: The first and third lines may be colored with crimson 
lake, and the second and fourth with new green. This should 
be done by using two shades of the color. When necessary 
to darken green, add a small quantity of Prussian blue. 
Letter G, Fig. 2, shows the manner in w^hich the water colors 
may be laid on. First make a light shade of the color, using' 
but little of the crimson lake. Flow on this color, covering- 
the entire space within the letter. When this is dry, cover 
the lower portion of the letter with a darker shade. Draw a 
horizontal line through the center of all letters, thus making 



10 LETTER FORMATION §4 

the work uniform in character. A broad stripe and tine line 
at top and bottom of this, made of a darker shade of the 
green, produce a very pleasing effect in water-color treat- 
ment. Stripe the second and fourth lines, therefore, as 
shown in H of the illustration. 



PLATE, TITLE: ECCENTRIC EGYPTIAN 

23. Practical Application. —The Eccentric Egyp- 
tian, which is a light-stroke letter, is much used in show- 
card writing, especially for small, neat white letters on a 
black card. Where a large amount of matter is contained 
on a card, it is necessary that some light-stroke letter be 
used. Eccentric Egyptian is a style quickly made, and, in 
an inscription, presents a very artistic appearance. 

24. Spacing: tlie Lines. — Construct a rectangle 
15 inches long by 9 inches wide, allowing an equal margin 
of 22 inches on either side. Then, beginning at the left- 
hand top corner, point off 1 inch from the top line, which 
gives the top of the first line of letters. The capitals are 
li inches high and the space between the lines of letters 
2" inch. From the bottom line of the capitals to the body 
of the lower-case letters is t inch. The lower-case letters 
are \ inch high and the space between the lines is f inch also. 
The long-stroke letters project i inch above and f inch below 
the body of the letters. 

25. Spacing- the Letters. — Divide the plate, as well as 
the copy, into 5 equal spaces, as recommended in the 
instruction accompanying the heavy Egyptian letter. Note 
carefully all details of letters and do not project strokes 
beyond the limits shown in the copy. The general width of 
these letters is \\ inches, using the width given to the let- 
ter H. Attention is called to the unequal spacing of the final 
line of lower-case letters. This is due to the letter / and the 
tail-stroke of the letter ,f,^ coming together were the line 
spaced strictly according to rule. Therefore, make letters 
equally distant from the margin line, which is 8 inches. 



§4 



LETTER FORMATION 



11 



26. Uniformity of tlie Letters. —The formation of 
the letters of any eccentric alphabet cannot be arbitrary. 
The features that change it from a normal to an eccentric 
letter may be altered, but, when this is done, the change 
should exist in the let- 
ters throughout the al- 
phabet. For example, 
the letters of this plate 
having strokes cut off 
at an angle, may be car- 
ried to a graceful point, 

as shown in Fig. 3. The main point to be observed in 
making eccentric letters is to make the letter symmetrical 
and well balanced. Do not form a letter so that it inclines 
to the right or left. One such letter destroys the appear- 
ance of an entire line of well-proportioned letters. 



(^HRT 



27. Tlie Bi-usli Work. -With this letter the student 
temporarily leaves the work of outlining to execute a plain 



block, or solid, letter, 
uniform width of the 
perfectly true outline. 



He has therefore to observe the 
stroke, symmetrical curves, and 
The width of the stroke made by 
the brush need not be con- 
sidered so long as the edge 
of the letter is accurately 
made. 

Use the brush previously 
used for outlining, the No. 5 
red-sable rigger. Draw all 
outlines in the order required 
when outlining. 

The width of the stroke of 
capital letters is --h inch; of lower case, i inch. If this 
letter be made on a black or dark-colored card, make the 
stroke of the capitals i inch and the lower case somewhat 
less than this. 

In Fig. 4 is shown the effect of the reduced stroke when 
this style of letter is used as a white letter on a black 




Fig. 4 



12 LETTER FORMATION §4 

ground. Note also the comparative height of the capitals 
with the lower-case letters. 

After the student has prepared his specimen sheet to be 
sent in for correction, we would recommend that he prepare 
the same alphabet, using a black cardboard and show-card 
writers' white. Make this as accurately as possible, and in 
accordance with size given in Fig. 4. It is not necessary 
that this be sent in for correction, as the black-lettered plate 
is sufficient. 

PLATE, TITLE: FRENCH ROMAN 

28. Practical Application. —There is no style of let- 
ter more generally used or more popular with the show-card 
writer than French Roman. It is an alphabet, therefore, 
to which the student may profitably devote much extra time, 
in practicing every characteristic detail, in order that he may 
the sooner memorize the formation of each letter and be 
able to execute them with accuracy and speed. 



CAPITALS 

29. Spacing the Lines for Capital Letters. —Con- 
struct a rectangle of the usual dimensions, 15 inches by 
9 inches, allowing the required margin of 2^ inches. Then, 
beginning at the lower left-hand corner, measure ol^ on the 
vertical line li inches, the height of the letters, and, above 
this, f inch, the space between the lines of letters. Repeat 
this, making four lines with 8 spaces between them. 

30. Spacing the Letters. —The width of C, D, and G 
is H inches, and of B, E, and F i inch less; the space 
between C and D is one-half their width. The space inclu- 
ding the panel for the letter A from the left-hand vertical 
line to the stroke of the letter i5 is 3 inches. The panel for 
the letter A extends i inch above and below the line for 
letters. The heavy stroke of letter is 1% inch and the fine- 
line stroke is s inch wide. 

.31. Width of the Letters. — Exceptions to the gen- 
eral width of letters exist in this alphabet in a somewhat 



^4 LETTER FORMATION 13 

exaggerated form. The letters Af, O, and O are one stroke 
wider than H, which is always chosen as a basis of measure- 
ment. The letter ff'is li times wider than the H. In pro- 
portioning the width of letters, the one point to be remem- 
bered is, that all letters should be given a comparatively 
equal width that will make them appear uniform and sym- 
metrical. For this reason arbitrary measurements in regard 
to each particular letter are not given; neither is it expected 
that a student will study the exact width, but rather be guided 
in the measurements by observing their relative width. This 
is accomplished by setting the compasses to the width of the 
standard letter // and using this width for comparison. 

32. Tlie Brusli Work.— Use the No. 5 red-sable rigger 
for cutting in the letter A as well as for outlining the letters. 
India ink should be used for outlining this Plate. It is 
necessary in this alphabet to mark ^^ 

out the letters carefully before ..^■'/^^^^^T~^^X^-"\ 

beginning on the brush work. /^ / \ \ Nv 

Points to be observed in making / / 1 <" \ \ 

the letters are: Do not curve the --I 1 1-- 

outline that forms the spur, but \ \ | j I 

make it angular; make all strokes \^ V/^-"!""^ / y^ 

parallel; in making crescent ^^-^-^^^^^inrirf V'''^ 

strokes, the maximum width of ^-~--"' 

the stroke is at point a of Fig. o, ^"^'- ^ 

the width gradually diminishing until point b is reached; 
always make the space within the letters C, O, and O elliptical; 
make the ends of the spurs needle-pointed; make all strokes 
uniform in width, and merge all wide strokes into the nar- 
row ones gracefully, being careful to make both outlines 
symmetrical. 

33. Details of the I^etters. — In letter A is shown a 
modification of the letter sometimes identified with this alpha- 
bet. The normal letter is the reverse of the letter [', with a 
cross-bar located about one and one-half strokes above the 
base line of the letter. The letter C may be finished as in 
copy, with the lower stroke corresponding with the upper, or 



14 LETTER FORMATION §4 

it may be brought to a point above the bottom line. The 
point where the strokes in letter M join may be raised or 
lowered. The essential point to be observed is that it should 
always be located midway between the vertical inner lines. 
The tail of the letter Q may also be made as shown in Fig. 5. 



i.()\vi:r c ase 

34. Spaciiiji: the Lines for TJO^vel•-Case Tjetters. 

The lower-case letters are included in a rectangle the same 
size as that required for the capitals. Beginning at the 
lower left-hand corner, measure off on the vertical line 
2 inch from the bottom line, which gives the base line for 
the lower-case letters. These are ^ inch high; \\ inch above 
this gives the base line for the numerals. The numerals are 
1^ inches in height, and the space between the lines is « inch. 
The distance from the top line of numerals to the base of the 
first line of lower-case letters is I inch. The height of the 
lower-case letters is the same throughcnit the al]3habet. 
To design the scroll, draw a vertical line through the center 
of the rectangle 7ij inches from either end. Measuring from 
the base of the first line of lower-case letters, point off on 
the vertical line just drawn Is inches; 4 inches below this 
place another point, which gives the height of the scroll. 
The extreme length is 7 inches, or Hi inches to the left and 
84 inches to the right of the vertical line. The letters on 
the scroll are \ inch high. They are located s inch from the 
top of the scroll and f inch from the bottom. 

To describe the curves of the scroll as well as of the let- 
ters, find a point o^ inches above the scroll and \ inch to the 
right of the center vertical line. 

35. Details of the Let ters. — The width of the verti- 
cal strokes is I'V, inch. The width of the fine-line stroke is 
one-half that of ihe heavy, or vertical, stroke. The outline 
of the lower-case letters is somewhat lighter than that of the 
capitals or numerals. 

In drawing the letters, note carefully that the spurs at the 
top of the vertical strokes are rounded in the lower-case 



§4 LETTER FORMATION 15 

letters. These strokes are cut off on an angle of about 45°. 
The letters of the ornamental scroll are a modification of the 
normal, differing in the a and c/; also, the capital D. In 
the former the stroke is inclined, which changes the character 
of the letter. In the capital D the upper stroke is carried 
beyond the vertical, which is a form of treatment often used 
in this style of letter. The width of stroke in this letter is 
8 inch. 

36. Tlie Briisli Woi-k.— Use the same brush as that 
used in outlining the capital letters. After completing the 
outlining, and having erased all pencil marks, the scroll may 
be colored and shaded as follows: Use charcoal gray for 
shading. Make a tint that will be equal in strength to the 
shade on the copy, that is, produced with fine lines. Place 
the shade on the left, in the manner shown. After this has 
dried, color the scroll with mauve purple. This should be 
done with care, in order that a large surface may be covered 
evenly and not show streaks. Rub up this color in one of 
the small dishes. Keep the shade light at first. Flow on the 
color copiously, using a large brush. When this has dried, 
another coat may be flowed on if the first coat appears too 
light when dry. Shade the letters on the scroll with a darker 
shade of the same color. Keep the shade on an angle of 
45°, leaving a narrow space between the shade and outline. 
The width of the shade should be i inch. 

PLATE, TITLE: ROMAN 

37. Practical Application. —As the Roman letter is 

one that never changes in character, being a fundamental 
alphabet, or prototype, from which many modifications arise, 
it is necessary that the student should possess a knowledge 
of its formation. Roman letters are used extensively in 
show-card writing, especially for headlines, important words, 
etc. They are also subject to extensive treatment in color- 
ing and shading, and in no style of letter is the skill of the 
letterer more apparent than in the graceful and symmetrical 
curves of the Roman alphabet. 



16 



LETTER FORMATION 



CAPITALS 

38. Spacing: the Liiies for Capital Lietters. —Con- 
struct the rectang-le the size used on former plates, 9 inches 
by 15 inches. Beginning at the bottom line, draw eight 
horizontal lines, allowing li inches for each line of letters 
and f inch for the space between the lines of letters. 

39. Desigiiiiij*- tlie Lictteris. — The letters of the 
normal Roman should be equal in height and width, 
although the letter may be greatly condensed in width 
when it is necessary that they should be so treated. The 
width of the vertical stroke is t inch, and the crescent strokes 
are somewhat wider than this. The spurs project one-half 
the width of the stroke beyond it, and these should be one- 
fourth of a circle, as shown in Fig. 6. The pointed stroke 
of the letter M may rest on the base line, or may be made 
one-half stroke above it. This letter should be one stroke 



^ 




Fig. t; Fic. 7 

wider than letters generally; the L and A^ are slightly nar- 
rower than the //, although thej' do not appear to be so. 
The tail of letter A^ should be maintained in a vertical 
position and should be a perfect cyma. To construct the 
cyma, make the maximum width in the center of the figure 
and diminish it gradually in either direction, as shown 
in Fig. 7. 

Note the following details in drawing the letters: The 
middle fine line of the letters B, /f, /% and // is one-half 
stroke above the center of the letter. The lower portion of 
the letter C projects beyond the upper spur. The spur of 
the letter G is directly above the center of the vertical 
stroke. Curves are necessary to give symmetry to the ball 



§4 LETTER FORMATION 17 

in letter T; also, in the character of . The upper spur of the 
letter ^S" is about one-half stroke within the limits of the body 
of the letter, while the lower spur projects the same distance 
be\"ond it. 

40. Tlie Brush Work.— Use the same brush thus far 
used. Note carefully the order in which the strokes of the 
first three letters are drawn. Draw the extreme outlines of 
letters' in every case, after which the details may be com- 
pleted. The spurs may be drawn to a needle point, as 
shown in the copy, or the\" may be finished by leaving the 
end of the spur the thickness of the outline. 

Draw the vertical lines to which are attached the spurs, 
commencing about the width of a stroke from the top line and 
leaving off the same distance above the base line. The spurs 
may then be drawn and joined to the vertical line. 



I.OWKR CASE AND NUMERALS 

41. Spacing IJO^ver-Case Ijetters. — In order to give 
the student the advantage of practice in the various forms 
of arrangement in drawing the plates, they have been pre- 
pared along such lines as will give him practical examples 
that may be readily applied in show-card writing. To place 
the lower-case letters on parallel ogee lines, draw a rectangle 
15 inches by 9 inches, and divide this into 5 equal spaces 
horizontally. Beginning at the left, number the four vertical 
lines drawn. Then, from the bottom line of the rectangle, 
measure off on line / the points that will give the position 
of the long line of the ornament, the height of the lines of 
lower-case letters and numerals; also, the position of the 
ogee curves. These points are as follows: h, li, 3f , 3f, 
6, 7, and 8f inches. The points at 84 inches and h\ inches 
give the height of the numerals; points at 3f inches and 
8f inches the top line of ornament. The points on line 2 
are 1, ll, 64, and 7i inches; on line 3, li%, 21%, 7, and 
S inches; on line -I, lil, 2|1, 5i, 7i, and 8i inches. The 
point at 5i inches gives the lower line for the ornament; 
that of the other ornament rests on the base line of the 



18 LETTER FORMATION §4 

rectangle. From the points given, first draw the two lines 
for the numerals; then draw two symmetrical ogee cm^ves 
through the points given. The long strokes project i inch 
above and below the line. The letter ^ is f inch below. 
It is necessary to draw but one line for the long-stroke 
letters — the one above the first line of letters. The length 
of other long letters may be measured separately. 

To space the letters of this plate, note their position in 
regard to the vertical lines, and locate them on the specimen 
sheet accordingly. 

42. Desig-iiiiig- tlie Letters.— Do not incline the let- 
ters to follow the curve, but make every letter vertical. The 
curved finish in the letters a, b, etc. at the base should not 
be exaggerated, but made small to correspond with the size 
of the spur. In constructing the outline of the character 2, 
and in all similar instances, the strokes of greatest length 
are made first. In drawing the lower stroke of figure 7, the 
right outline should be made first. The cyma stroke of 
figure 8 should be one-half stroke above the center. The 
lower outline of the cyma stroke should be made first. 

After the letters and the numerals of the plate have been 
finished and the pencil marks erased, draw the freehand lines 
that compose the ornament. For this, use the orange ver- 
milion water color. The long lines should be drawn first. 
These are parallel. They should be brought to a needle 
point on the inner end and given added thickness at the 
curved end. Having drawn these, the other lines may be 
added. The manner in which these should be drawn is 
indicated by the arrows in the top ornament. 



PLATE, TITLE: TRANSPAllENT COLOR WORK 
43. Advaiitaj^es of Color Work. —A knowledge of the 
methods of handling colors in show-card writing is invaluable, 
and the benefit derived from this is obvious. Show-cards 
are made more attractive through coloring, and the writer's 
taste is gratified by artistically embellishing a piece of work 
by the use of harmonious colors properly applied. The 



§4 LETTER FORMATION 19 

examples given, therefore, are such as the student will find 
most profitable for all practical purposes. 

44. Spacing" tlie Letters. —Construct a rectangle 
14 inches by 9 inches, or, 1 inch shorter than previous plates. 
On this locate the words and single letters as follows: iinch 
above the line forming the base of rectangle gives the base line 
for the word Charter. The lower-case letters of this word are 
\\. inches high, the capital C is 3 inches. Measuring from 
the base line of the rectangle, the ribbon is 3^" inches, and 
the height of the ribbon is 21 inches. The letters G and M 
are f inch above the ribbon, and are 2t% inches high. The 
letters W and O are li inches above the ribbon, and are 
Li-ir inches high. The extreme width of the letters G and M, 
exclusive of the spurs, is 28 inches. The letter [Fis 3 inches 
wide, including the spurs; the letter O, 2i inches. The word 
tires on the ribbon is \\ inches high, or f inch from the top 
and bottom edges. The word the is f inch from the base of 
the rectangle. The capital letter is ll inches high; the 
lower-case, I" inch. The lower left-hand corner of the ribbon 
is 2i inches from the vertical line of the rectangle, and the 
upper right-hand corner of the ribbon is the same distance 
from the right-hand vertical line. 

45. Designing tlie Letters. —Attention is especially 
called to the width of strokes in the letters of this plate. 
They are made extremely heavy in order that the letter-face 
treatment may be better shown. First draw the outlines of 
the letter; also the ribbon. The letters C. B. & Co. may be 
approximated in regard to height and location. The letters 
on the ribbon incline with the edge or fold, while the letters 
of the word Charter incline on an angle of about 40°. 

46. Coloring the Plate.— After the plate has been 
carefully designed, and before outlining with black, the blend- 
ing on the ribbon should be done. For this, use Prussian 
blue and chrome yellow. First erase the pencil marks on 
the ribbon with the sponge eraser, leaving only faint guide 
lines for the letters. Then, before blending, wet the portion 
of the ribbon occupied by the letters with clear water, and, 



^ 



20 LETTER FORMATION §4 

before tnis has been entirely absorbed by the paper, cover 
the entire space with a light shade of yellow at the top and 
blue at the bottom, leaving the center of the letter white. 
When this is dry, proceed to letter the plate, beginning with 
letter IV. Follow the letters of the copy carefully in every 
characteristic detail. In cutting in the word ^ircs, be careful 
that you do not run the black on the space to be occupied by 
letters, or on open spaces at the edge of the ribbon. When 
the plate has been outlined and the black brush work entirely 
completed, use the sponge eraser and remove all pencil 
marks preparatory to coloring the balance of the work. 

Now color the edges of the ribbon, using a yellow on the 
top edge somewhat stronger than that used on the letter; 
likewise, a stronger blue on the lower edge. Fill in the entire 
space within the letters C. B. & Co. with a tint made from 
crimson lake. Use the same color and make a shade of 
medium strength for the lower half of the letters. When 
dry, add another still deeper shade at the bottom of the let- 
ters. Fill in all letters before beginning with the shading. 
The colors used are as follows: For the letter W use a tint 
made from burnt sienna; for the darkest shade on the face of 
this letter, blue to sienna. The same colors are also used to 
fill in the letters of the word Charter. The color on which the 
filigree ornament is placed is the same as that used for sha- 
ding the word Charter, and is made of orange chrome yellow 
and sienna. A little red and sienna are added to this of suf- 
ficient strength to make the filigree ornament. New green 
is used on the face of the letter ir with two darker shades 
made of the same color, to which Prussian blue is added for 
the diminishing ellipses. The shade farthest from the letter is 
called the natural shade, and is made from charcoal gray, 
with a little orange chrome added. The two inner shades are 
made from burnt umber. The space between the shade and 
the letter is filled in with a tint made from orange chrome. 
The letter J/ is filled in with mauve purple, and shaded with 
darker shades of this color so as to give the ornamental cen- 
ter of the letter a relief eflfect. The shades of the letter, aside 
from the natural shade, are made of burnt sienna. The upper 



§4 LETTER FORMATION 21 

portion of the letter O is the same tint as that used on the let- 
ter IV. The lower portion is made from sienna and orange 
chrome. The ornament is filled in with an orange-chrome 
tint. The shade on this letter, as well as the ribbon and 
adjoining- letters, is made from charcoal gray; this is called a 
double shade. The shade from letters C. B. & Co. is a cast 
shadow, being in reality a repetition of the letter on the back- 
ground, as shown in Shoic-Card Writing, Fig. 19. In shading 
the letters, make the shading, as well as the space between 
the shade and the letter, uniform in width. 



PliATE, TITI^K: ECCENTRIC ROMAN 
47. Practical Ai)i)lication. — The Eccentric Roman, 

as well as the Heavy Egyptian, is best adapted for water- 
color treatment, because the extreme width of stroke gives 
sufficient area within the outline of the letter for a variety in 
the coloring. When a lower-case letter is required to be used 
in connection with this alphabet, the lower case of the Roman 
may be used. The stroke of this letter, however, should be 
1^ times the width of the normal Roman lower case, which 
makes it conform to the stroke of this extreme letter. 

■48. iSiiaciiij? tlic Lines.— This alphabet is also drawn 
within a rectangle 9 inches by L") inches. The letters are 
li inches in height and the space between the lines of letters 
is f inch. 

49. Si)acing: the Letters.— The width of letter D, 
which may be taken for a basis of measurement, is li inches. 
The width of the vertical stroke is t inch. Use the method 
recommended in previous plates. Divide the specimen copy 
into five equal vertical spaces, 8 inches wide, and also the 
copy into an equal number of spaces 2^ inches wide; then 
arrange the letters in the drawing in their relative position 
to those on the copy. It is necessary in spacing all letters 
to have them appear as nearly equal in width as possible, 
allowing additional space for letters that are always of 
exceptional width; namely, the M and W. Aside from this, 
it is not essential that a show-card writer should give the 



22 LETTER FORMATION §4 

subject of the proportion of letters in each alphabet further 
consideration. 

50. The Brush \york.— Use the brush that has thus 
far been used in lettering- previous plates. The outline 
should be -\-g inch wide, or the stroke that is most suited to 
the size of brush — a line that may be made without bearing 
heavily on the brush. Make every curve graceful and sym- 
metrical. When making the outline that forms the inside of 
the letter, great care should be exercised to not only form 
the stroke properly, but to make the space within the letter 
true and regular. The feature shown in the lower stroke of 
the letter /t is the cutlas of the loth century, which was first 
employed as a characteristic in letter formation in the 
German Renaissance of that period. 

In finishing the plate, after it has been outlined, fill in the 
letters and shade them as shown in Fig. 8. To do this, first 
fill in the letters with orange chrome, being careful to keep 
the color light, as this is one of the strong colors and but 
very little is necessary. Moisten up some of the color in 
one of the water-color dishes, and test its strength before 
applying. When the proper shad© has been secured, flow 
the color on with the No. 3 short red-sable Columbia. 
The cymas that form the ornament on the face of the letter 
are made with the same brush, the color used for this being 
burnt sienna. Shade the letters with charcoal gray, making 
the first shade one-half the width of the stroke. When this 
is dry, use a stronger shade of the same color and apply 
it on the first shade, evenly dividing the width, thus leaving 
a space between the letter and the shade equal to the width 
of one shade of the letter. 



PLATE, TITLE: OGEE-Cl RVE STROKE 
51. Practical Ai)i)lication. —The Ogee-Curve Stroke 

serves the same purpose in show-card writing as the eccentric 
styles of letters. It is not intended for general utility, but, in 
order to give variety to an inscription, it is often used. The 
versatility of the letterer is shown as much by his ability to 



§4 LETTER FORMATION 23 

employ that style of letter most fitting to the inscription as 
by his knowledge of a large number of different alphabets. 
The style of letter under consideration is most graceful, 
quickly made, and subject to eccentric treatment, when a 
student has become familiar with the normal forms of 
the letters. 

CAPITALS 

52. Spacing: tlie Lines for Capital Lietters. — The 
rectangle enclosing the letters is 9 inches by 15 inches. 
The letters are li inches high, and the space between the 
lines of letters is f inch. The approximate width of this 
letter, using the letter H for the basis of measurement, is 
If inches. The compasses may be set at this width, and 
the space for the letters pointed off on the base line, or a 
line drawn horizontally through the center of the letters. 
The width of the stroke is f inch. The letters are inclined 
on an angle of 20°. 

53. Tlie Brush Work.— This letter is made of ogee 
curves, and, therefore, before lettering the plate, the student 
should practice making this curve until he is able to make 
it symmetrical; also, to place several ogee lines side by side 
and have them parallel. The curve should not be exagger- 
ated, but should be slight, curving the line to the right above 
the center of the letter and to the left below it. 

The lines in many of the letters are exceptions to the 
general feature that characterizes this letter. Some of 
these, as in A and //, are straight lines, while others, as in 
A, K, M, A^, Y, and the character 4, are circular arcs. Use the 
No. 5 red-sable brush; make the stroke somewhat lighter than 
that of Eccentric Roman. Great care should be exercised in 
merging the outlines of the stroke into the fine line, to make 
the outline symmetrical and not show an additional thickness 
in the outline at this point. There is no spur attached to the 
comers of the strokes; the corners should therefore be made 
with as sharp an angle as possible. 

Observe the details of each letter closely and endeavor to 
reproduce them precisely like the copy. In doing this, the 



24 LETTER FORxMATION S4 

following few suggestions will be found profitable: Many of 
the strokes in letters of this alphabet extend beyond the 
limits of normal letters. It is well, therefore, in order to 
reproduce such features in proportion to those of the copy, 
to note their length, using the width of the stroke as a basis 
of measurement. For example, the lower stroke of the 
letter ^S" projects one and one-third strokes to the left of the 
upper portion of the heavy stroke, measuring from a line 
drawn tangent to this at an angle of 20°. 

Do not enlarge or exaggerate the double-line thickness on 
the end of all fine lines. It is a feature that characterizes 
this form of alphabet, and to enlarge on this would entirely 
change the general appearance of the letters. 

Give to every curved stroke a free-hand graceful curve. 
Do not permit this to appear broken or distorted, thereby 
throwing the letter out of balance. Shortening or lengthen- 
ing a line more than the required length will cause the letter 
to incline to the right or left. 



LOWER CASE 

54. Spacing: tlie Twines for Lower-Case Tjetters. 

Construct a rectangle 9 inches by 15 inches. Beginning at 
the lower lejt-hand corner, measure off on the vertical line 
21 inches, which gives the top of the bottom line of lower- 
case letters. These letters are 1 inch high. Between the 
lines of letters there is a space of 1i inches. The character 
^ is 2 inches high, and the character ^ is H inches. The 
long strokes project 2 inch above the body of lower-case 
letters, while the letters that project below the base line are 
of various lengths, which should be determined with refer- 
ence to their proportion to the height of the body of the 
letter, as shown on the copy. 

55. Si)aeiiii>- the Letters. — The incline of the lower- 
case letters is 20°, or the same as that of the caj^itals. The 
stroke is ] inch wide, while the width of the outline is the 
same as that of the ca])ital letters. In s])acing the top line 
of letters, a space of •!• inch should be allowed ])etween the 




Fig. 8 



^4 LETTER EORMATION 25 

vertical rectangle lines and the first and last letters. At 
either end of the lower line 1 inch space should be allowed. 
This will permit a uniform space between letters and also 
give the proper width to each. 

56. Tlie Brusli Work. —Use the same brush as was used 
for the capitals. The ogee line curves either way from the 
center of the letter, which is true of the long strokes, such as 
Ik /, /, etc., as well as the 1-inch letters. Many of the letters of 
the lower-case alphabet are identical with the capitals, while 
others are characteristically different from all other styles of 
lower-case letters, such as the g and y. Note the curves of 
these last-mentioned letters, and study to give to them, as 
well as to all letters, the same incline and general appearance. 



PIRATE, TITLE: SQUARE ENGLISH 

57. Pi*{u*tic*al Application. —The Square English 

letter is simple in construction, and, when the characteristic 
features that exist throughout the alphabet are understood, 
this form of alphabet becomes as easy to make as the 
simplest letter in the Course. A chisel-shaped brush, such 
as a square shader, or the automatic shading pens, may be 
used to the best advantage when the letter is to be made 
solid. It may thus be made with accuracy and also with 
rapidity. Its chief qualifications that recommend its use in 
show-card writing are, that a line of letters formed from 
this alphabet presents a studied uniformity in appearance; 
also, that the letters may be colored and shaded with very 
little work, which is an advantage to be considered. 



CAPITALS 



58. Spacing: tlic Eiiies for Capital Letters. —Con- 
struct a rectangle of the usual size, 9 inches by 15 inches. 
The base line for the last line of letters rests on the line 
enclosing the rectangle. The letters are H inches in height, 
and the spaces between the lines of letters are 1 inch. 



26 LETTER FORMATION §4 

59. Spacing tlie Letters. —The second and fourth 
Imes are indented 2f inches from the vertical hne of the 
rectangle on the left, while the first and third lines finish 
about li inches from the right-hand vertical line. The 
letters are If inches wide, and the stroke is 1% inch. The 
letter B is 3 inches from the vertical line. The filigree 
ornament extends f inch above the rectangle. A space of 
If inches, or equal to the width of the letter M, should be 
left between the letter Z and character &. 

60. The Brusli Work. — First, make the letter A solid, 
as shown in the copy; then proceed to ornameiU it b r follow- 
ing the longest curved lines, after which the shorter lines 
may be made. The outline of the letters should be made 
heavy or -h inch wide. The beveled stroke that occurs at 
the left of the top, and at the right of the base of the vertical 
strokes, should begin at a point opposite the outline of the 
stroke and should be carried at an angle of about 40° to a 
point almost equal to the width of the stroke. The spur 
opposite this angle should be small and sharp-pointed. 

61. Coloring: the Letters. —When the plate has been 
outlined and all pencil marks erased, proceed to color and 
shade the work. Fill in the letters with a medium shade of 
crimson lake water color. After this is dry, fill in the lower 
half of the letter with a darker shade of the same color, 
cutting off the color on a horizontal line in the center of the 
letter. Cover over the entire filigree ornament with a light 
shade of chrome yellow, extending this about i inch beyond 
the lines of the ornament. Shade the letters, exclusive of 
the letter A, with charcoal gray. Make the shade the width 
of the open space of the stroke, and leave a space between 
the shade and the outline equal to H times the width of the 
outline. The bevel at the top of stroke being on an angle 
of 40°, and the shade on an angle of 45°, a slight narrow 
shade only should be shown at the bevel. Be careful to 
always maintain the 45° angle in shading, as well as to give 
the shade, and the space between the shade and the letter, a 
uniform width. 



§4 LETTER FORMATION 27 



LOWER CASE 

62. Spacing tlie Ijower-Case Lettei-s. —The rectangle 
enclosing the lower-case letters is also 9 inches by 15 inches. 
The long strokes of the letters p, g, and y rest on the line of 
this rectangle; i inch above this draw the base line for the 
last line of letters. The lower-case letters are 1 inch high, 
and the space between the lines of letters is 2 inches. The 
panel enclosing the letter 5 is 1 inch from the rectangle line 
and f inch from top line of letters. It is 2t inches wide 
between the inner vertical lines, and about f inch above and 
below the letter. The width of the panel enclosing the 
letter I\f is 2o inches, and the height should correspond with 
that of the letter .S". The width of the letters is i inch. 
The width of the stroke is one-fifth the height of the letters. 
Use compasses to divide the height into five equal parts. 

63. Tlie Bi'usli Work.— Use the brush that has thus far 
been used for outlining to make these solid letters. First 
outline the letter, being careful to make the outside edge of 
the stroke straight, after which the letter may be filled in 
with the same, or a larger, brush. Points to be observed 
in the details of these letters are: Make corners sharp. Do 
not exaggerate the size of spurs where these occur on 
corners of strokes. Where horizontal strokes are cut off 
on a bevel with the point touching the vertical stroke, be 
careful that the extreme point only is made to touch. All 
bevels should be maintained on a uniform angle of about 
45°. In outlining panels for the capitals .S" and J/, make the 
outline precisely like the copj^ as this conforms in a general 
way to the outline of the letter. 

64. Hints on Colorina:. — In the practical example 
given on this plate, not only is a line of capitals and lower 
case from this style of letter employed, but the subject 
of illuminating and paneling capitals is also shown. To 
accomplish this with the least amount of work and produce 
a most pleasing combination of colors, proceed in the follow- 
ing manner: First rub up a tint of orange chrome yellow. 



28 LETTER FORMATION §4 

and fill in the first panel, leaving^ the letter ►S' open. Use 
crimson lake cautiously in the same manner, filling in the 
panel containing- the letter M. Fill in the letter .V with a 
medium shade of crimson lake, and the M with a medium 
shade of new green. The lower half of the letter M should 
be filled in with a dark shade of green darkened with blue, 
cutting across the stroke in a diagonal line. In the same 
manner a darker shade of crimson lake should be applied to 
the lower half of the letter .V. To shade the letters S and yJ/, 
add a small amount of crimson lake to the yellow first used, 
which will give a natural shade for the letter .S". This shade 
should be about three-fourths the width of the stroke in width, 
leaving a space one-fourth stroke between the letter and the 
shade. In like manner shade the letter J/, using a darker 
tint of crimson lake. Now shade the lower-case letters in 
the same manner, using charcoal gray for this purpose. The 
panels should be shaded with a cast shadow, which is illus- 
trated in Fig. 19, Shoiv-Card WrUing. In this case the panel 
should be duplicated in the shade about \ inch wide, and this, 
as well as all other shading, should be maintained at an 
angle of 45°. The panel should also be shaded with char- 
coal gray. 

PLATE, TITLE: HALF SCRIPT 

65. Practical Application. —There is no style of 
letter that will take the place of Half Sci-ii)t for certain 
uses in card writing. It is, therefore, one of the most impor- 
tant alphabets taught in this Course. It is quickly made 
and graceful in appearance, which alone would recommend 
it and give it a foremost place in the list of show-card 
writers' alphabets. This letter calls for the display of the 
writer's ability in making freehand curves. It is known 
as Half Script among card writers, because of the resem- 
blance of the capitals to Italic Roman and the lower case to 
Spencerian Script. 



§4 LETTER FORMATION 29 



CAPITALS 

66. Spacing the Lines foi* Capitals. —After con- 
structing the rectangle of usual size, draw the lines that 
give the height of the letters li inches apart, leaving a 
space between these of f inch. The letters of this alphabet 
incline at an angle of about 22i°, or one-fourth of a quad- 
rant. ■ The width of the vertical stroke is i% inch, while the 
rounded or crescent strokes are f inch. Allow li inches on 
either end of the last line of letters, and fill in the space 
between the alphabet and the character with a cyma. 

67. Tlie Briisli Work. —Study carefully the details of 
each letter before beginning on the brush work. It is 
important that all rounded letters, as well as all straight- 
line letters, be inclined at a uniform angle, or the appearance 
of the work will be greatly marred. The use of the cyma 
in such letters as A, E, F, and H is not arbitrary in this 
style of letter. A straight line may be used in its place, 
with a spur attached to this in the E and F, such as is used 
in the Roman alphabet. The spur on these letters is much 
smaller than those of the Roman, and in many cases the 
letter is carried above or below the line. In the eccentric 
form of the letter T, the cross-stroke is carried to the right, 
sometimes covering several letters. 



LOWER CASE 

68. Spacing: tlie Lines for Lower-Case Letters. —A 

rectangle 9 inches by 15 inches also encloses the lower-case 
letters; 1 inch above the base line of the rectangle, draw a 
line that is the bottom line for the letters. The letters are 
f inch high. The space between the last line of letters and 
the numerals is 2 inches. The numerals are li inches high, 
and the space between the numerals and top line of letters 
is li inches. The long-stroke letters project 4^ inch above 
the line, while those of the / and g project below the line 
somewhat further. The stroke of the lower-case letters 
is -1% inch wide; that of the numerals is f inch. The letters 



30 LETTER FORMATION §4 

should incline at the same angle as the capitals. The 
numerals, however, are more symmetrical, and are easily 
made on an incline of about 20°. In connection with the 
capitals and lower case, the numerals appear to be on the 
same incline. The cipher of the numerals is not given, for 
the reason that it is always identical with the letter O of the 
corresponding alphabet. In spacing the letters of this alpha- 
bet, do not leave a space between letters that will not permit 
of being joined with a fine line at an angle of 45°. 

69. The Brush Work.— The outlining brush may be 
used for these letters, although the fine line should be made 
much lighter than lines that the student has been accustomed 
to in drawing previous plates. The stroke of the lower 
case should be made as shown in Fig. 9, beginning at the 





Fig. 9 Fig. 10 Fig. 11 

top of the left-hand outline, and continuing to the termination 
of the line. The right-hand outline begins with the fine 
line at the top and terminates at the fine line of stroke 1. 
Thus, all strokes are made with two strokes of the brush. 
Study the details of each letter carefully and endeavor to 
give to the curves of strokes as well as fine lines a graceful 
touch and symmetrical finish. Avoid the common error that 
is made by many letterers when making this style of letter. 
This occurs in the curved stroke where joined to the fine line. 
Fig. 10 shows the improper way of forming the stroke, and 
Fig. 11 the proper way. By thus comparing them it may be 
readily seen that to curve the outline at this point destroys 
the artistic appearance of the stroke. 



.^4 LETTER FORMATION 31 

PI. ATE, TITLE: SCRIPT 

70. Practical Application. —Without a knowledge of 
the Script alphabet, the show-card writer's education would 
be incomplete. It is true that Script letters are the most 
difficult to accomplish; the alphabet has therefore been given 
the last place. It is likewise true that the formation of the 
letters maj^ be easily learned, and with much practice they 
may be most gracefully executed and also made with great 
rapidity. 

CAPITALS 

71. Spacing tlie Lines for Capital Letters. —Con- 
struct a rectangle 9 inches by 12 inches, leaving an equal 
margin at the top and bottom. Beginning from the base of 
the rectangle, draw five lines, making 3 spaces for the letters, 
2 inches high, with a space between the lines of letters of 
1 inch. There are but twenty-one letters on this plate, seven 
letters on each line, thus giving abundant space for the 
extensive sweep of the fine lines that characterize this style 
of letter. 

72. Spacing: the Letters.— The width of the shaded 
stroke at its maximuin should be i% inch. The fine line 
should be made extremely light, for this gives added grace 
to this form of letter. Script letters should always incline 
at a uniform angle of 40°. Draw the letters, after locating 
them in their proper place, with a needle-pointed, hard-lead 
pencil. Be careful to make all details correspond with those 
of the letters in the copy. 

73. Tlie Bi'ush Work. —Having drawn the letters with 
accuracy, proceed with the brush work by first making the 
principal stroke of the letter, which in many cases is the 
stem or the ogee stroke, as in the letter B. The shading of 
this stroke should be below the center of the letter. To 
incline this stroke at the proper angle, the ogee stroke 
should be an equal distance from the 40° line above and 
below the center of the letter — to the left of the line above 



32 LETTER F(3RAIATI()N ^4 

and to the right below, as shown in Fig. 12. The crescent 
strokes are given the proper incline by making the maximum 
distance from the 40° line at the center of the stroke and 
crossing the line at equal distances above and below the 
center, as seen in Fig. 18. It is essential in script writing 
that the use of too many fine lines be avoided. The best 
script writers employ very few fine lines. In joining the 



Fig. 1_> FiG; 13 

fine line to the stroke, always merge this into the stroke so 
as to join the outline and form a symmetrical and continuous 
line, if the stroke were outlined instead of being filled in. 
Endeavor as nearly as possible to give to all letters a uni- 
form width, making the usual exceptions with the ;7/ and JV. 



LOWER CASE 

74. Sjmciiiji' LoM^ei'-Case Letters. —The base line for 
the numerals is the bottom line of the 9" X 15" rectangle 
enclosing the lettering of the plate. The numerals are 
2 inches high; 4^ inches above the numerals draw the base 
line for the remaining capitals, which are also 2 inches high. 
The lines that limit the height of the first six letters of the 
lower case are 4f inches and 5f inches from the base of the 
rectangle. The lines for the four final letters of the lower 
case are 2f inches and 8t inches from the lower line of the 
rectangle. In order that the ogee line of letters may be 



H LETTER FORMATION 33 

properly located, it is necessary for four vertical lines to be 
drawn on the plate, making 5 spaces 3 inches wide. Draw 
lines on the copy, also, 2i inches apart. These lines will be 
of assistance in spacing the letters. Beginning with the 
left-hand vertical line of the rectangle, place two points 
3i inches and 4i inches from the base line of the rectangle. 
On line 2 the two points are 2|i inches and 3i inches; on 
line 5, 3tV inches and 3i inches; on line 4, 3f inches and 
4f inches; on line 5, 41% inches and 5t^ inches; on the right- 
hand vertical line of the rectangle, 3f inches and 4f inches. 
From the points given construct a graceful ogee curve. The 
length of the long-stroke letters may be approximated by 
observing their position relative to the strokes of other 
letters above or below them. To locate the letters on the 
ogee curve, draw those first that touch the four vertical lines. 
It will then be an easy matter to draw the remaining letters 
and give the proper space between them. The width of 
the stroke of the lower-case letters is somewhat narrower 
than the capitals, or ^ inch. 



PliATE, TITIjE: OPAQUE WATER-COIiOR WORK 

75. Practical Aijplication. — In order that the student 
may understand the difference between transparent and 
opaque lettering, it may be well to say that if transparent 
colors were used on a black-card surface they would not be 
seen; the card would absorb the color, and no trace of it, 
except perhaps a slight discoloration on the surface of the 
card, would remain. Opaque color, if used on white, would 
be liable to appear streaked, or uneven. Even though they 
possessed the same advantages in regard to their covering 
quality, the transparent colors are more convenient and are 
always used in preference to opaque on white cards. The 
latter are used on black and all dark-colored cards. 

76. Spacing- tlie liines. —Construct a rectangle 15 
inches by 9 inches, making the faintest line possible for this, 
as well as all pencil marks on this plate. No attempt should 
be made to erase or remove them when work is completed, 



34 LETTER FORMATION §4 

or a marred or ruined plate will be the result. It is pref- 
erable, therefore, that the guide lines be made with chalk, 
which may be easily removed. To do this, charge a piece 
of thread by drawing it over white chalk; hold one end 
with the second finger of the left hand and the other end 
with the thumb of the right; then, with the thumb and fore- 
finger of the left hand, the thread may be snapped on the card, 
leaving a line suitable for measurements, and one that can be 
dusted off readily when letters are drawn in lead pencil. 

Divide the length of the rectangle into 5 spaces 3 inches 
wide, and the copy into 5 spaces 22" inches wide. On the 
first vertical line, place two points 5i inches and 7t% inches 
from the base of the rectangle; on the second vertical line, 
Si inches and 7f inches; on the third line, 6i inches and 
8f inches; and on the fourth line, 61% inches and SiV inches. 
By the aid of the eight points given, the ogee curve may be 
drawn on which the word champion is placed. The other 
measurements are as follows: The word the is drawn on 
lines 8i inches, 8i inches, and Si inches from the bottom line. 
The word celebrated is 4i inches from bottom line, and t^ inch 
high. The letter B and character & are 1% inch from the 
bottom line, and are 3| inches high. The lines that limit the 
height of the letter kS are i inch and 3t\ inches. The lines of 
the ribbon containing the words trade mark are \W inches 
and 2i%^ inches. The remainder of the work may be located 
approximately, using the letters, words, and vertical lines as 
guides in placing all lines in their proper position. 

77. Spacing tlie Letters. — The letters on the ogee 
curve are on an angle of 221°, or one-fourth of a quadrant. 
The stroke is i\ inch wide. The stroke of the letter in the 
word celebrated is -H inch wide. The space between this word 
and the vertical line of the rectangle is 31 inches. The panel 
surrounding the letter .5" is 6 inches from right-hand vertical 
line and 5i inches from the left, measuring at the point 
where the ribbon crosses the panel. 

78. The Brush Work.— Use show-card white for letter- 
ing. This should always be well shaken before it is used. 



§4 LETTER FORMATION 35 

Use the No. 5 red-sable brush. Letter the words the, cham- 
pion, celebrated, and the letters B. & Co.; also, outline the 
ribbon, but leave the words trade mark until later. If the 
white for any reason does not cover well, run over the 
letters a second time. 

Pour a small amount of the white into one of the water-color 
pans. Rub up a small amount of deep chrome yellow; also, a 
small, amount of orange and vermilion, using a short stocky 
brush for this; and, allowing the color to drop into the white, 
stir well and apply the shade to the lower half of the first 
line of letters. Make a gold color by adding, to the white, 
orange-chrome yellow and ocher in the same manner. With 
this color make the ornamental panel; also, fill in the letters 
B. & Co., leaving a uniform white outline. The dark color 
at the bottom of these letters, also the ornament within the 
letter B, is made by adding sepia and burnt sienna. Outline 
the letter S with orange chrome and vermilion; also, use this 
for the stripe underneath the word celebrated. Fill in the let- 
ter 5" with pink made of white, with a little orange and ver- 
milion added. A small quantity of white, thinned almost to 
the consistency of a transparent color, is used to cover the 
ribbon. Flow this on and blend it off into the black as it 
approaches the letter S. Afterwards the words trade mark 
may be lettered on the ribbon. Use mauve purple and white 
for the ornament above and below the word champion. Use 
clear white in highlighting the ornament. 



INDEX 



All items in this index refer first to the section number, — which is printed on the inside 
edges of the headlines and is preceded by the printers' section mark f*, — and then to the 
page number. Thus, Applied desisrn 3 2, means find the paper having ? 3 on the head- 
lines and then find page 2. 



A Sec. Page 

Acorn leaves 3 9 

Advantages of color work .... 4 IS 

Air pencil 1 56 

Alphabets, Freehand 1 1 

Selection of 2 18 

Supplementary .... 2 19 

Antique Egyptian (light) 2 20 

Apostrophy 1 SI 

Application and methods 1 19 

of design to show-card 

writing 2 1 

Reward of 1 3 

Applied design 3 2 

Appropriate ornamenting .... 3 19 

Arc, Circular 2 2 

Arrangement and classification of 

the Course .... 1 3 

Display 2 12 

Freehand 2 15 

Straight-line .... 2 12 

Automatic shading pen 1 56 

B 

Background 1 19 

stencils 1 69 

Banners, Combination metal and 

card 1 72 

Store 1 "1 

Wall 1 71 

Beveled cards 1 is 

shading 1 27 

Beveling 1 63 

Fancy 1 64 

Plain I 63 

Black ] 6 

" letters 1 54 

Preparation of 1 11 

Blending 1 49 

around designs 1 51 



Block 

letters, Modifications of . 

shade 

Board, Photo-mounting .... 

Border effects 

Borders, Ribbon 

Brights 

Broad striping 

Brocade 

Bronzes 

Brush, Methods of handling the 
work 



Brushes 

Camel's-hair . . 

Care of . . . 

Red-sable . 

Wash 

Bulb, Decorator's relief 



Sec. 
1 
1 
! 
1 
1 
3 
1 
1 
1 
1 
1 
1 
4 
1 
1 
4 
1 
1 
1 



Camel's-hair brushes 1 

Canthus, Inner 2 

Outer 2 

Capitals, Condensed Egyptian . . 4 

Illuminated 1 

History and 
general use 
of ... . 1 
in card work 1 

Index 1 

Paneled 1 

Card electric signs 1 

hangers . . 
stenciling . 

writer. Chief qualification 
for becoming a 
How to become an 
expert 



Page 
19 

57 

2 4 

18 

52 

19 

14 

42 

55 

55 

40 

40 

2 
14 
15 

3 
14 
17 
56 



INDEX 



Sec. FaKc 

Card writers, Cardboard used by 1 17 

colors 1 

white 1 

■' blank .... 1 

Cardboard used by card writers . 1 

Cards, Beveled 1 

Colored 1 

Fancy-edge 3 

Mounting heavy 1 

Panel 3 

Care of brushes 4 

Cast shadow 1 

Center of circle 2 

Centerpiece ornament 3 

Circle 2 

Center of 2 

Circumference of 2 

Diaineter of 2 

Radius of 2 

Circles 1 

Circular are 2 

Circumference of circle 2 

Cold colors 1 

Colon 1 

Color, Flesh 1 

work. Advantages of . . . 4 

Designing letters for 4 

Spacing letters for . 4 

Colored cards 1 

letters 1 

Coloring the eye 2 

plate 4 

Colors 1 

Card-writers' 1 

Classification of 1 

" Cold 1 

" Dry 1 

" Use of 1 

Gold 1 

Handling of 1 

Neutral 1 

oil. List of 1 

Primary 1 

Principal necessary .... 1 

Secondary 1 

Semineutral 1 

Shading 1 

Spectrum 1 

Tertiary 1 

Warm 1 

Water 1 

List of 1 

Necessary 1 

Outlining for ... 1 
■' " Preparation of . . . 1 

" " Shading with ... 1 



9 
10 
17 
17 
18 
IS 
17 
66 
17 
3 

2f) 
3 
13 
3 
3 
3 
4 
3 
64 
2 

8 
78 

9 
IS 
10 
19 
18 
55 
26 
19 



Sec. Page 

Colors, water, Use of 1 5 2 

Combination metal and card ban- 
ners 1 72 

panels 2 6 

Comma 1 79 

Common error 2 16 

Component parts of a letter ... 1 19 

Composition of a design 3 9 

Compound relief 1 56 

Condensed Egyptian, Brush work 

with ... 4 5 

capitals . . 4 4 
Details of 

letters in 4 5 
Details of 

letters in 4 7 
Lower case 
and numer- 
als in . . 4 6 
Spacing let- 
ters in . . 4 4 
Spacing 
lines for 
capital let- 
ters in . . 4 4 

Condensing 1 20 

Cone, Pine 3 10 

Construction of indexes 2 23 

Contrast 1 8 

Cornea 2 25 

Corner ornament 3 12 

Course, Arrangement and classi- 
fication of 1 3 

Purpose of 1 1 

' Curved lines. Freehand 2 15 

Curves and lines 2 2 

Elementary 1 47 

Cut-in letters, Uses of 1 28 

" out designs 3 7 

Cutting in letters 1 28 

letter stencils 1 68 

Cycas palm branch 3 12 

Cyma 1 20 

I) 

Dash 1 80 

Decorators' relief bulb 1 56 

Design. Applied 3 2 

Elements of 2 2 

Designing, Illustrative 3 2 

Inscription 2 12 

Practical 2 12 

Designs, Composition of 3 9 

Cut-out . 3 7 

Elliptical 3 14 



INDEX 



Sec. Page 

Desigrns, Figure 3 5 

Novelties in show-card . 3 20 

Permanent 3 2 

Trade-mark 3 2 

Various 3 14 

Diameter of circle 2 4 

Display arrangement 2 12 

Ditto marks 1 SI 

Diverse treatment of words .... 2 17 

Dry colors 1 49 

" Use of 1 49 



E 



Eccentric Egyptian. Brush work in 4 11 
Practical ap- 
plication of 4 10 
Spacing the 
letters for . 4 10 
" " Spacing the 

lines for . . 4 10 
" " Uniformity of 

letters in . 4 11 
letters. Limits of ... . 1 57 
Roman, Brush work in 4 22 
Practical appli- 
cation of . . 4 21 
Spacing the let- 
ters for ... 4 21 
Spacing the 

lines for 4 21 

Egyptian letters. Modifications of 1 58 

Elementary curves 1 47 

lines 1 46 

Elements of design 2 2 

lettering 1 19 

Ellipse 2 4 

Methods of describing .2 4 

Ellipses 1 64 

Elliptical designs 3 14 

Elongating 1 20 

Embossed letters 1 56 

Emphatic words 2 16 

Engrossing 2 21 

Error, A common 2 16 

Examples, Value of 3 1 

Exclamation point 1 80 

Exercise I 1 40 

II 1 41 

III 1 42 

IV 1 43 

Extended letters 1 60 

Eye 2 24 

•' Coloring the 2 26 

" Drawing the 2 24 

Eyelets 1 77 



F Sec. Page 

Face 1 19 

Fancy beveling 1 64 

edge cards 3 17 

Figure designs 3 5 

Figures in relief 3 6 

.Simple 2 2 

Fine line i 19 

Flesh color 1 9 

Flitters 1 hh 

Flowers 3 9 

Forms, Ornamental 1 30 

Freehand alphabets 4 1 

arrangement 2 15 

curved line 2 15 

French Roman, Brush work in cap- 
ital letters in . . 4 13 
Brush work in 
lower-case let- 
ters in 4 15 

capital letters . . 4 12 
Details of capital 

letters in . . . 4 13 
Details of lower- 
case letters in . 4 14 
(light) letters . . 2 22 
Lower-case let- 
ters in 4 14 

Practical applica- 
tion of 4 12 

Spacing capital 

letters in ... . 4 12 
Spacing lines for 

capitals in . . . 4 12 
Spacing lines for 
lower-case let- 
ters in 4 14 

Width of capital 

letters in . . . 4 12 

Full block letters 2 19 

(; 

Gold color 1 9 

Gothic letters 2 23 

Grotesque letters 1 31 

II 

Half block letters 2 19 

script. Brush work in capitals 



m 



29 





" lower- 








case 








letters 








in . . 


4 


30 


capitals 




4 


29 


Practical 


application 






of . . 




4 


2S 



INDEX 



Sec. /'agy 
Half script. Spacing- lines for cap- 
itals in 4 'J'.t 

Spacing lines for 

lower-case letters in 4 29 

Hands, Position of, when stripinsr 1 40 

Harmony and contrast 1 S 

Heavy Eijyptian, Brush work in . 4 9 
Coloring letters 

in 4 9 

Practical appli- 
cation of . . . 4 8 
Spacing the let- 
ters for ... 4 8 
Spacing the 
lines for . . 4 8 

highlight 1 27 

Heraldic shield 1 30 

Highlight 1 28 

Heavy 1 27 

History of illuminated capitals . 1 32 

Holly 3 10 

Hyphen 1 81 

I 

Illviminated capitals 1 32 

History and 
general use 

of 1 32 

in card work . 1 34 

Illumination of show-cards .... 1 52 

Illustrative designing 3 3 

Imitation relief letters 3 Ifi 

Index capitals 1 35 

Indexes 2 23 

" Construction of 2 23 

Inner canthus 2 2.5 

Inscription, Arrangement of an . 2 12 

designing 2 12 

Location of 2 ir> 

Inscriptions for show-cards ... 3 23 

Interior signs 1 71 

Interlacing letters 1 39 

Interrogation i>oint 1 SO 

Iris 2 25 

Isinglass 1 55 

Leaves, Acorn and oak 3 9 

Letter, Component parts of a . . 1 19 

face lighting and shading I 20 

formation I 1 

Lettering I 43 

Elements of 1 19 

Position of hands when 1 43 

Speed in 1 48 

Letters 1 54 



Letters, Antique Egyptian (light) . 

Black 

Classification of 

Colored 

Condensing 

Cutting in 

Elongating 

Embossed 

Exaggerated examples of 

elongating 

Examples of condensed . 

Extended 

French Roman (light) . . 

Full block 

(iothic 

Grotesque 

Half block 

Imitation relief 

Interlacing 

Limits of eccentric . . . 

Modifications of 

•' block . . 
Egyptian 

Old English 

Ornamental ....... 

Relief 

ornament 

Rustic 

.Shippers' box marking 

Spacing of 

the 

Telescoping 

that may be inodified . . 

Treatment of 

Uses of cut-in 

White 

Light, Reflected 

Lighting and shading, Eft'ects pro- 
duced by 
Importance 
of ... . 

Letter-face 

Limits of eccentric letters .... 

Line. Fine 

Lines and curves 

Elementary 

Freehand curve 

Spacing the 

Location of inscription 

^lanifolding 

Manila pattern paper 

^laterials 

for stencils 

necessary 



Sec. Page 
2 20 



INDEX 



Mechanical devices in window let- 
tering 1 

Metallics 1 

Methods and application 1 

Modifications of block letters . . 1 

Egyptian letters 1 

" letters 1 

Mounted panels 3 

Mounting 1 

heavy cards 1 

Purposes and methods 

of 1 

N 

Neutral colors 1 

Novel designs in price tickets . . 3 
Novelties in show-card designs , 3 

O 

Oak leaves 3 

Ogee-curve stroke, Brush work in 
capital let- 
ters of . . . 4 
Brush work in 
1 o w e r-c a s e 
letters of . . 4 
lower-case let- 
ters 4 

" " " Practical appli- 

cation of . . 4 
■' " " Spacing lines 

for capi t al 
letters of . . 4 
" " " Spacing lowcr- 

c a s e letters 

of 4 

Oil colors. List of 1 

Old English letters 2 

Opaque water-color work. Brush 

work in 4 

water-color work. Practi- 
cal application of . . . 4 
water-color work. Spa- 
cing letters for .... 4 
water-color work. Spa- 
cing lines for 4 

Origin of the possessive sign . . 1 
Ornament - 

Centerpiece 3 

Corner 3 

Ornamental forms 1 

letters 1 

Ornamenting, Appropriate .... 3 
Ornaments, Various styles and 

application of 3 



Sfc. Page Sec. Pat^e 

tauter canthus 2 25 

7(i Outhne 1 19 

.').'i Outlining for water colors .... 1 53 

49 Outside signs 1 73 

58 P 

,57 Palm 3 11 

It) ■■ branch 3 11 

65 ■■ " Cycas 3 12 

fi6 Panel cards 3 17 

ends 2 6 

65 Paneled capitals 1 35 

Panels 2 C 

Combination 2 6 

6 " Mounted 3 16 

21 " Part 2 8 

20 " Relief-scroll 2 9 

Rococo 2 9 

Use of, in designing .... 2 6 

9 Paper, Manila pattern 1 IS 

Parenthesis 1 81 

Part panels 2 8 

23 Pen, Automatic shading 1 56 

Pencil, Air 1 56 

Period 1 78 

25 Permanent designs 3 2 

Photo mounting 1 66 

24 " ■' board 1 18 

Pictorial show-cards 3 15 

22 Pigments 1 7 

Pine cone 3 10 

Plain beveling 1 63 

23 Plate, Coloring the 4 19 

Dimensions of 4 1 

" Title: Brush-stroke letters . 4 1 

24 " " Condensed Egyptian 4 2 
13 " " Eccentric Egyptian . 4 10 
20 '■ " " Roman 4 21 

Elementary curves . 1 47 

34 " " " lines . . 1 46 

French Roman ... 4 12 

.33 ■' " Half script 4 28 

Heavy Egyptian . . 4 8 

.34 " " Ogee-curve stroke . . 4 22 

Opaque water-color 

33 work 4 33 

77 " " Roman 4 15 

2 " " Script 4 31 

12 " " Square English ... 4 25 

13 " " Transparent color 

12 work 4 18 

30 Position of hands wlien lettering 1 43 

29 " " " " striping . 1 40 

19 Possessive sign. Origin of . . . 1 77 

Practical designing 2 12 

12 Price tickets 3 21 



XIV 



INDEX 



Str. Page 



Primary colors 

Printing 

Punctuation 

Importance of 
Rules for . . 

Purpose of the Course . . 



Q 

Quadrants 

Qualifications for becoming a 

card writer 

Quotation marks 

R 

Radius of circle 

Rectangle 

Red-sable brushes 

Reflected light 

Relief bulb, Decorator's .... 

compound 

letters 

ornament letters 

scroll panels 

shade 

Ribbon borders 

Ribbons 

Forms of 

Shading 

Riggers 

Rococo panels 

Roman, Brush work in. capital let- 
ters 

capital letters 

Designing, capital letters 
lower-case let- 
ters .... 
lowei"-case and numerals 
Practical application of . 
Spacing lines for, capital 
letters .... 
lower-case let- 
ters 

Rustic letters 

S 

Script, Brush work in, capital let- 
ters 

capitals 

lower-case letters .... 

Practical application of . 

Spacing capital letters of . 

lines for capital 

letters of ... . 

lower-case letters 

of 



h 



2 


3 


2 


6 


1 


14 


2 


n 


1 


56 


1 


56 


1 


62 


1 


30 


2 


9 


1 


i'S 


•?, 


10 


1 


10 


2 


10 


2 


10 


1 


14 


2 


9 


4 


17 


4 


16 


4 


16 


4 


18 


4 


17 


4 


]ri 



4 


31 


4 


31 


4 


32 


4 


31 


4 


31 



32 



Secondary colors 

Selection of alphabets 

Semicircles 

Semicircumferences 

Semicolon 

Semineutral colors 

Sending work to the .Schools . . . 

Shade 

•' Block 

" Relief 

Shaders, Square 

Shading 

and lighting, Effects pro- 
duced by 
Importance 
of ... . 
Angle to be executed 

upon 

Beveled 

colors 

Letter-face 

on the left 

ribbons 

with water colors .... 

Shadow, Cast 

Sheeting signs 

Shield, Heraldic 

Shippers' box marking 

Show-card design and ornament . 

designs, Novelties in . 
Inscriptions for . . . . 
transparencies .... 

writing 

Application of 

design to . 

Forms used in 

cards. Illumination of . . . 

Pictorial 

Signs, Card electric 

Interior 

Outside 

Sheeting 

Store and window 

White enameled-cloth . . . 

Simple figures 

Spacing, Correct and incorrect . . 

Importance of 

of letters 

the letters 

lines 

Spectrum colors 

Speed in lettering 

Spur 

Square English, Brush work in 
capital letters of 



Sec. 
1 



Page 
5 

18 
4 
4 

79 
6 

19 
24 
2.5 
17 
23 



9 
26 

10 
.53 
25 
74 
36 
22 

1 

I 
20 
23 
74 

1 

1 
2 

52 
15 
75 
71 
73 
74 
71 
73 

20 
20 
20 
3 



INDEX 



Ser. Page 



Square English, 



Brush work in 
lower-case let- 
ters of ... . 

capitals .... 

Coloring: capital 
letters of . . . 

Hints on color- 
ing plate . . . 

lower case . . . 

Practical appli- 
cation of . . . 

Spacing capital 
letters of . . . 

Spacing lines for 
capital letters 
of 

Spacing lower- 
case letters of 



shaders 

Stenciling, Card 

Stencils, Background . . 

Cutting letter . . . 

Materials for . . . 

Use of 

Store and window signs . . 

banners 

Straight-line arrangement . 
Striping 

Broad 

with the T square . 

Stroke 

Supplementary alphabets 

T 

T square. Striping with the 

Telescoping letters 

Tertiary colors 

Tickets, Price 



Trade-mark designs .... 
Transparencies, Show-card 
Window 



U 



Underscore ... 

Use of dry colors . 

stencils . . 

" " water colors 



Value of examples 



W 



Sec 


Page 


3 


2 


1 


74 


1 


74 


1 


81 


1 


49 


1 


67 


1 


52 





2.'i 


Wallb 
Wash 






71 


4 


brushes 


17 




*>y 


Water 






T' 




List of 


12 




17 


" 


necessary 




13 




G!) 


" 


Outlining for . . . . 




53 




69 


•' 


Preparation of . 




12 




68 




Shadingwith .... 




53 




6S 




Use of 




.52 




67 
74 


White 






6 




blank. Card-writers" . . 


17 




71 




Card-writers' 




10 




12 




enameled-cloth signs . . 




73 




40 




letters 




54 




42 




Preparation of 




10 




41 
19 


Width 
Windo 






19 




w and store signs 


71 




19 




lettering. Mechanical de- 
vices in 

transparencies 




76 
74 




41 


Words 


, Diverse treatment of . . 




17 




39 


" 


Emphatic 




16 




6 


Work, 


Brush 




2 


3 


21 


" 


How to send, to the Schools 




3 



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JOHN SMITH, CLASS N9 ^52S 



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UUNE 25, /898 



Printed in thi 

Copyright, 1903. hi/ InUrn 

Entered at Staiioi 

All right 




JOHN SM/TH, CLASS N 9 ^529 



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SC]i 




UUNE 25, /898 



Print. 
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IPT 




Ited States 

ml Textbook Company 

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